Showing posts with label new wave. Show all posts
Showing posts with label new wave. Show all posts

Saturday, December 14, 2024

Silent Daze - Invader


On its excellent debut album, Bulgarian synth-pop duo Silent Daze conceives a sound that's inspired by the '80s yet also quite modern and progressive. Invader is now available digitally from Girlsville, and a physical release on cassette will be out in early 2025. Ketty Marinova and Andrew Anderson (Freak Genes, Proto Idiot) are the formidable talents behind this band. The Cold War vibes and new wave, post-punk, dance-pop, and classic alternative influences are undeniable. But this is no retro trip. Anderson, a favorite of this blog, has long shown a flair for producing music that's original and wonderfully weird but always catchy and hook-laden. He and Marinova are definitely kindred musical spirts, and they have delivered something bold and exceptional with Invader. Yes, this is synth-pop. But it's not trying to sound like any synth-pop band you could name. Instead, there's this vague feeling you'll get from these songs — like you're peering behind The Iron Curtain circa the mid-'80s, but then four decades passed in the blink of an eye, and whatever gloom was in the air intensified to dystopian levels. Invader may take a few listens to fully sink in, but it's well worth your precious time and hard-earned cash.

Sunday, September 01, 2024

Rad Max - Party McFly


Rad Max is a band I really love and find to be somewhat misunderstood. Any Gen Xer like me will have a tremendous appreciation for the band's love of 1980s culture and aesthetic. But the mistake some people might make with this band is to dismiss it as some sort of one trick pony novelty act. All novelty acts lose their appeal sooner rather than later. Rad Max, on the other hand, just keeps getting better. Surely this band wants to write songs you can dance to, and those songs are more likely than not to make reference to '80s popular culture. But if you think Rad Max are just about nostalgia, you're not fully getting them. Their new album Party McFly isn't just a record you listen to once and chuckle at. It's a really excellent new wave pop-rock record which arrives at a time when most really excellent new wave pop-rock records are decades old. The band's songwriting is legit good, and there's just as much contemporary social commentary and reflection in these songs as there is '80s homage. 

Of course Party McFly is a fun album first and foremost. It will get you and your friends dancing at parties just as it will get you dancing while you're home alone. But there's a serious undercurrent to these songs that I really appreciate. "Extraterrestrial Radio" rails against corporate control of commercial radio — something that has made the world a far suckier place. "Dystopian World Tour" could not be any more on-point in its depiction of modern society. "We Used to Never Say Die" is inspired by The Goonies yet also reflects on how a once-hopeful generation has been beaten down by reality. "Shutter Shades" changes the style of sunglasses but reaffirms a central message of the movie They Live: that we need to see through the villains hiding in plain sight. "Outrunning the Nothing" somehow explores existential angst while referencing a character from Domino's Pizza ads in the '80s. The album opens by introducing a metaphor that just about anyone will be able to relate to: we're still battling demons from high school. There's a lot of substance hidden within this throwback party record, and that is the real genius of Rad Max. Music can be fun and serious at the same time — just as music can be nostalgic and forward-looking at the same time. Party McFly is essential listening for anyone who aspires to be rad.

Sunday, April 28, 2024

Silicone Values - How to survive when people don't like you and you don't like them


Out on Paris-based label SDZ Records, How to survive when people don't like you and you don't like them is a proper LP compilation of digital singles from Bristol's Silicone Values, who play original, fiercely intelligent music that brings to mind the more adventurous & experimental side of first wave UK punk. Mick Fletcher maintains that this band has not received the attention it deserves, and I wholeheartedly agree (while admitting I've been one of the guilty parties). These singles go back to 2020, and I have no explanation whatsoever for how I missed the boat on all of them. Can I blame COVID brain fog? This album title is absolute genius, and the songs more than live up to it. Across 15 tracks, the band opines on the sad state of the world with candor, insight, and dark humor. And the tunes are brilliant all the way through. Behold your soundtrack to the apocalypse! If the Wire/Fall/Swell Maps wing of first generation punk gets your heart racing, Silicone Values are your next favorite band. But you knew that already, didn't you? 

Sunday, February 25, 2024

Autogramm - "Diana"


Well, this was a nice surprise! A mere three months after it released its fantastic new album Music That Humans Can Play, North America's top new wave band Autogramm is back with a new single on Beluga Records! With "Diana," the now-foursome leans heavily into early '80s synth-pop with a sound that strikes a perfect balance between dark and danceable. The thing that gets me about Autogramm time and time again is that these guys don't just nail the style of new wave pop. First and foremost, they write absolutely top-notch songs with irresistible melodies and legit radio hit hooks. Playing this kind of music is a tricky thing because you want it to feel like the era that inspired it, yet you need to elevate so that people will like the songs even if they have zero emotional attachment to the '80s. That has been Autogramm's greatest success. Of course "Diana" would not sound out of place at the club on an '80s night playlist. But it would also grab your attention if you heard it while standing in line at Chipotle. It's a total earworm and a stone-cold banger in any era. Imagine Vince Clarke–era Depeche Mode if they'd had guitars! On the B-side, "Licht Aus" is a mostly faithful cover of a 1982 single single by German new wavers Nichts. If you're going to be a new wave band in 2024, covering largely-unknown gems from the heyday is definitely the way to go. The odds are that at least one person reading this will do a deeper dive into Nichts, and that's tremendously exciting to me. Two non-album tracks from Autogramm so soon after an LP release is a real treat, and they do not disappoint. Hit up the Beluga web site if you want to order the vinyl. Those of you in Europe should check out Autogramm's socials for details on the band's tour happening next month!  

Saturday, January 06, 2024

The Trouble Seekers - "Not Like U"


If the impending dissolution of Hall & Oates has left you questioning whether life is still worth living, perhaps you just need another duo to believe in. The Trouble Seekers, Kevin McGovern and Hillary Burton, return with what is already their ninth single. In the duo's patented style, "Not Like U" mixes together elements of dark new wave, experimental synth-punk, and jagged-edged pop to create a retro-futuristic concoction that sounds like nothing else that's out there. As always, both artists succeed in merging their singing voices and creative visions. "Not Like U" sounds like something you might have heard in a 1980s dark waver dance club if you had stepped through a portal into the future. I love the atmosphere this song creates in just a little over three minutes. It builds an air of gloom and anxiety, yet it also delivers plenty of punch and high-quality hooks. And how amazing is that artwork? If you're seeking some dark wave/post-punk that's a cut above, I urge you to track down "Not Like U" and the entire Trouble Seekers discography.

Sunday, November 19, 2023

Autogramm - Music That Humans Can Play

Time goes by so quickly that I had not realized Autogramm hadn't released new music in over two-and-a-half years. The band's second album No Rules came out in April 2021 — still prime pandemic time. A follow-up, recorded in the summer of last year, has finally made its way into the world. Listening to Music That Humans Can Play is like catching up with an old friend you haven't seen in a while and picking right up like you had just talked yesterday. The title hints at the wonderful irony surrounding Autogramm. Here's a band that relies heavily on synthesizers yet still writes some of the warmest and mostly deeply human songs you'll ever come across. In its early days, the band occupied the new wave side of power pop and existed in what seemed like an eternal 1979. While still a pop band at heart, the now foursome has grown more sophisticated in its craft and deftly propelled its time machine into the 1980s. Having lived through the golden age of MTV circa 1981–83, I find it remarkable how authentically Music That Humans Can Play captures the sound of those times without coming off like a calculated recreation. Much of that has to do with the myriad of inspirations in the mix. Autogramm isn't trying to sound like one or two particular bands. Rather it's channeling an entire era of popular music, and what results is a blending of new wave, synth-pop, power pop, new romantic, and pure pop influences that evokes the spirit of the early '80s in a way that still feels current. It certainly doesn't hurt that four different band members are all injecting their own style and point-of-view. And above all else, Autogramm distinguishes itself from the modern new wave pack (if there really is such a thing) by writing genuinely great songs.   

No Rules was a really fantastic album and a fine example of a good band finding its footing and becoming something even better. 31 months later, Music That Humans Can Play arrives with considerable expectations. And it delivers in a big way. Joined by new guitarist Lars Von Seattle, Jiffy, The Silo, and CC sound more adept than ever at turning out well-crafted, hook-laden songs that somehow manage to sound timeless even as they recall a very distinct moment in music. With its opening 1-2 punch of "Born Losers" and "WannaBe," this album comes flying out the gates with anthemic aspirations. As so many reviewers have commented, these songs sound like they were made for '80s movies soundtracks. And I love the positive vibes here. With the state the world's in now, we should be using our strength to lift others up rather than pulling them down. "Born Losers" would be goofy if it weren't so darn genuine, and there's a special genius in being able to write a song that walks that sort of tightrope. "WannaBe," which advocates unconditional love for others based on who they are underneath all the surface manifestations of being, delivers a beautiful message for these times and all times. "Be my alien" is a mantra we should all live by. As the album continues, the hits keep coming in different styles. "Hey Allie" and "Love Is for Fools" are fully on the pop side of new wave and could pass for forgotten radio hits from four decades ago. "Why Do We Dance?" sounds a little like Devo venturing into dark wave, and I dig every second of it. The bouncy "Plastic Punks" walks the line between punk and new wave circa 1977 and sounds like the best song Jeffrey McCloy never wrote. The stunning "(Always Gonna) Be My Girl" manages to be gloomy and beautiful all at once. "Dive Right In" finds the album ending the way it starts — reminding us to embrace failure rather than being dismayed by it.  

I can't help thinking that the good vibes of Music That Humans Can Play are a reflection of Autogramm's own emergence from the pandemic. It confronts failure and disappointment but looks for the brighter light ahead. Lyrically, the band is taking things deeper than ever. Yet that doesn't mean that the songs can't be fun. These are very serious songs that you can sing along with and dance to, and ultimately this album is exactly what the title suggests. Available now from Stomp Records in Canada and Beluga Records in Europe, this third album from Autogramm is one of the year's best.

Sunday, October 08, 2023

Autogramm - "WannaBe"

One upcoming album release I'm super stoked about is Music That Humans Can Play, the third LP from modern new wave titans Autogramm. The now-foursome has treated us to an advance single called "WannaBe" which has been accompanied by a really awesome retro music video. Sonically, this tune is vintage Autogramm. It draws from the coolest elements of new wave rock circa the late '70s/early '80s while still sounding like it belongs in the world of contemporary underground music. And it's a total earworm. Lyrically, it expresses an absolutely beautiful sentiment. Drummer/singer The Silo explains that "WannaBe" was originally written with one person in mind. As the song came to life, he realized it had taken on a broader meaning. In his words, "It's a declaration of love and support to any friend, child, or lover who is going through a change in their self-perception; the idea that gender, occupation, size, skin are all merely physical manifestations of being and will never matter as much as the person underneath it all." That's truly profound stuff, and to me there's no greater love in the universe than the unconditional acceptance of what makes others unique. Of all bands out there using synthesizers, none have more warmth or humanity than Autogramm. "WannaBe" is as good of a song as the band has ever released, and that gives me very high hopes for the full album. Music That Humans Can Play will be out November 17th via Stomp Records and Beluga Records!

Monday, September 18, 2023

Duncan Reid and the Big Heads - And It's Goodbye From Him


Now this is how you go out on top! And It's Goodbye From Him is the fourth and final studio album from Duncan Reid and the Big Heads, capping a remarkable second act in Reid's musical career which began with his 2012 solo album Little Big Head. Reid, bassist/vocalist in the legendary punk group The Boys, has assembled one of the most impressive catalogs in modern day power pop/punk rock along side the formidable Big Heads (Nick Hughes, Sophie Powers, and Karen Jones). Having made the decision to step away from music, Reid has left us with a truly extraordinary swan song. 

And It's Goodbye From Him is not just the best-produced album Reid has done with the Big Heads. It's also the most musically varied and lyrically personal. In the years in which this album was written, Reid survived a pandemic, became a grandfather, and discovered he was autistic. All these things inform these songs, which are filled with Reid's special blend of heart, humor, wit, and insight. In many ways, this is an album about self-discovery and self-reflection —  with a couple songs delving into political commentary which surprisingly lighten the mood. My reaction to hearing this album is that we're experiencing a master at work. Reid is one of the last living legends of first generation power pop punk, and he can still turn out punchy three-chord pop songs like a champ. Even with some pleasant surprises (e.g. the German cabaret stylings of "Would I Lie To You" and the elegant baroque pop of "It's Going So Well"), this still sounds familiarly like a Duncan Reid and the Big Heads album. All those who love power pop, punk rock, or any combination of the two will surely find these songs hitting their sweet spot. This is a remarkable and practically flawless set of songs, and producer Dave Draper squeezes the absolute most out of every last hook, melody, and harmony. No doubt energized by one of the finest backing bands in his land or any other, Reid sounds in absolute peak form on this farewell platter. Knockout opening cut "Lost Again" finds Reid laying himself bare for the whole world to hear, and it will make you love him if you didn't already. "Funaggedon Time," an ode to the heyday of glam rock, fully lives up to its title. "Just Try To Be Kind" is a reminder of what we all should aspire to these days. "Can I Go Out Now Please" will take you right back to your lockdown headspace. By the time I stop laughing at "Bill Gates (Finland is a Myth)," I'll be on my deathbed. "Singing with the Beach Boys," a poignant tale about a divorced weekend dad making a special connection with his son, is a fitting close to a tremendous album and a legendary career. 

And It's Goodbye From Him, for me, is in the running for album of the year. At a time when we're pleased if most first generation punk rockers merely don't embarrass themselves, Duncan Reid is signing off with what is genuinely one of the finest records he has ever been a part of. Perhaps you'll come for the sing-along choruses and tuneful melodies, but you'll stay for the charm, joy, and humanity.

Sunday, July 16, 2023

Rad Max - "So Convenient"


The latest single from Portland's Rad Max is another new wave smash. "So Convenient" is the foursome's first release in a year, following up last summer's anthem "Extraterrestrial Radio." On the surface, "So Convenient" is a celebration of the cultural phenomenon that is the American convenience store. Where else on Earth can you purchase beef jerky, enormous sugary beverages, lottery tickets, and freshly grilled hot dogs in one stop whilst witnessing the finest in local color at any hour of the day? But in verse two, the song takes exactly the futuristic/modern dystopian turn you'd expect from Rad Max. With its mix of humor and spot-on social commentary, this song totally hits a sweet spot for me. Bouncing back and fourth between post-punk and pure pop music, "So Convenient" has got an '80s feel for sure — and of course I'm talking about the 2080s. The little bit about the brain freeze really made me laugh because I recently suffered from such an affliction (and yes, it was brought on by overzealous slurpee consumption). One of my major life goals is to someday hear this song at a convenience store. For now, you can download the track for the very low price of free and save your spare change for that single roll of TP.

Friday, June 02, 2023

Carissa Johnson - Blue Hour Deluxe


One of my favorite things about Rum Bar Records is that Lou frequently loves a piece of music so much that he'll re-release it just to get it back out into the world. Many of my most-loved Rum Bar releases were CD reissues of albums that were highly deserving of being heard by the label's worldwide fan base. To that list, I can add Carissa Johnson's masterpiece Blue Hour Deluxe

Blue Hour Deluxe includes all of Johnson's 2021 long player Blue Hour along with her band Carissa Johnson and the Cure-Alls' The Good EP and a collection of unreleased demos and alternate mixes called L'Heure Bleue, After Dark. The whole package comes in at a whopping 22 tracks, which is a heck of a deal for a $13 CD or $12 download. As I listened to Blue Hour Deluxe, I found myself perplexed that Johnson is not a household name in popular music. Blue Hour is an extraordinary album and clearly the work of one of the most talented songwriters and singers of present times. Musically, it's unlike anything else I've heard in quite some time — combining synth-driven new wave power pop with a dreamy modern rock edge and a singer/songwriter's intimacy. Largely inspired by the isolating time Johnson spent living in locked-down Los Angeles in spring 2020, the album is so intensely personal that it comes off like a musical diary. Yet that's what makes it so powerful. Johnson sings openly and honestly about loneliness, alienation, and the yearning to escape a suffocating existence. While these songs tell her own story, they are relatable on a universal level that transcends the specifics of pandemic isolation. 

Recorded with producer Benny Grotto in Boston in 2021, Blue Hour is essentially a whole album full of singles (Johnson, in fact, has done music videos for every track). These songs are profound and emotionally stirring, yet all that substance never comes at the expense of big, satisfying hooks. Johnson is an incredible vocalist and a remarkable artist to boot. At a lean ten tracks, Blue Hour will leave you wanting more. Thus the bonus material here is highly welcomed. Knowing that Malibu Lou is going to push Blue Hour Deluxe with all his might, I anticipate a whole lot of people will be discovering this modern classic for the very first time in the coming weeks. If you find yourself as wowed as I've been, be sure to check out Johnson's YouTube channel and Bandcamp for your additional listening pleasure!

Monday, May 22, 2023

The Trouble Seekers - "Crazy"


Back with their sixth single and third of this year, The Trouble Seekers have unleashed their most "pop" song yet. Of course I'm not talking about power pop or pop-punk or Taylor Swift (not that I don't enjoy all those things). But I could be talking about early '80s California punk/new wave or the soundtracks to Pretty In Pink and Some Kind of Wonderful. You know: that kind of pop. When I first heard this song, the words "John Hughes movie soundtrack" started running through my head. Kevin has confirmed that that was indeed an influence. I can practically smell the hairspray. With this single, Kevin and Hillary continue to hone their vision for a genuinely new sound influenced by old sounds. With its moody feel and controlled pace, "Crazy" manages to rage without going a million miles an hour. This is a definitive slow-burner. Some may be surprised to hear Kevin properly singing on the early verses — although by song's end, he works himself up to his usual state of fury. Hillary's chorus is an absolute earworm. Long after the song stops playing, that lyric "Every time you talk/You turn me off" will be running through your head. As always, the way Kevin and Hillary play off of each other vocally takes the song to another level. This is brilliant stuff from a truly dynamic duo. If you dig moody pop with an edge, you will be well-served to seek out The Trouble Seekers.

Saturday, May 06, 2023

MONONEGATIVES - Crossing Visual Field


Having already proclaimed MONONEGATIVES the very best of the newest wave of post-punk/synth-punk, I did not imagine this London (Ontario)–based outfit had left itself room to make a second album twice as good as its first. Knowing that Crossing Visual Field was coming out, I figured I'd like it a lot, write a quick paragraph of effusive praise, and have the rest of my day to drink beer. But then I put the record on, and within moments found myself genuinely blown away. Not content to rest on their laurels, Rob Brake and company have upped their game on Crossing Visual Field. I heard the first song and was like, "Holy shit, how can they top this?" Then the same thing happened with the second song and every song until the end. I realized I was taking in an extraordinary work of art. 

Like 2021's Apparatus DivisionCrossing Visual Field is a record that puts the punk rock in synth-punk. Brake's chilling, apocalyptic synthesizers work in perfect harmony with sharp guitars, anxious rhythms, and vocals which are simultaneously robotic & anguished to create a soundtrack to our modern-day dystopia. Yet this particular album stands out because the songwriting is far more complex and accomplished this time around. It seems weird to describe music of this nature as "melodic," but I can definitely hear more developed and alluring melodies in this set of songs. And from start to finish, there's not a single sub-par track in sight. The thing about a MONONEGATIVES record is that you can always count on variety — sometimes even within a single track. Wherever your tastes on the synth/post-punk spectrum may lean, there's something on Crossing Visual Field for you. The album flows seamlessly between punk rippers ("Neutral Solution," "Outcome Unknown"), quintessential synth-wave numbers ("North Carolina Atomic Bomb," "Testing Capability"), and moodier tracks ("Disappearing Architecture," "Bel-Pre") that bring to mind the 1980s heyday of dark post-punk. Brake's ascent into synthesizer genius status (already made obvious on the new Telegenic Pleasure album) continues here. His compositions are creative and enthralling, evoking images of space warfare, factories of the apocalypse, and machines growing sentient. Yet in every case, these synthesized creations serve the song first and foremost. Could "Living in the Future" be any more of an anthem for our times? Crossing Visual Field sets the bar even higher for what contemporary synth-punk ought to be.

Saturday, April 29, 2023

Sex Mex - We're a Happy Family


Quite a few of my influential friends have been touting Sex Mex's new EP We're a Happy Family. And I can totally understand why. When I saw its "Too punk to be pop. Too pop to be punk. Too late to be new wave" Instagram bio, I knew this San Antonio–based band would be for me. The four tracks comprising We're a Happy Family are indeed a perfect mashup of punk, pop, and synth-driven new wave. Catchier tunes than this simply do not exist. Listen to "We'll Be Gone" once, and it will be stuck in your head until the end of time. If you had told me this was a long-lost Dirtnap Records release from 20 years ago, I would not have doubted you. A brief inspection of Sex Mex's Bandcamp will reveal that this group has been turning out releases at a rate that's almost too prolific to believe. If you like poppy punk rock with synths, We're a Happy Family is a must-buy. And I'm using "buy" loosely since this is a free download. You might want to be careful Googling the band name.

Sunday, April 23, 2023

The Smart Shoppers - LEFTOVERS FROM TOMORROW


Joey, Norby, Jash, and Aaron — collectively known as The Smart Shoppers  — are back with their second full-length album, LEFTOVERS FROM TOMORROW. Their debut album, DORKWAVE, remains a criminally underrated work of art. I mean, come on: it practically invented a new genre of music! LEFTOVERS FROM TOMORROW carries on in a similar vein. It walks the very fine line separating punk rock and new wave without ever crossing all the way over on either side. It's dorky and catchy and wonderfully weird and super fun and (of course) smart. Yet it's not a mere repeat of its predecessor. On this release, The Smart Shoppers broaden their stylistic palette with a really nifty Cars knock-off ("Party Girl"), a wink and a nod to proper garage rock ("Slacks"), and a satisfying stab at thrashing pop-punk ("Big Love"). And even when the band sticks to familiar terrain, its elevates its previous songwriting on brilliant numbers like "Store" and "Simpin' USA." One could argue that "egg punk, garage punk, diy punk, diy music, diy record label, indie rock, indie, weird, Nerd Rock, - Looking Glass" is perhaps the best use of 47 seconds ever by a non-hardcore band. Joey Shops, as always, is the perfect vocalist for this kind of band  — capable of pulling off the dorky/weird approach in a way that's unique and genuinely not annoying. The band's sense of humor remains compatible with mine, manifesting itself mostly in sharp social commentary and a formidable commitment to song titles starting with the letter "S." I have to love a band that can write a song like "Sex Organisms" that flirts with being absolutely stupid but ends up being anything but. These guys are way better musicians and songwriters than they'd ever let on, and ultimately that's what makes them the Bart Starrs of the egg punk universe. If punky new wave and new wavey punk are your jam and you nonetheless ignored my previous recommendation to purchase DORKWAVE, you have another opportunity to be a smart shopper.

Friday, April 07, 2023

Telegenic Pleasure - Concentric Grave


Holy fucking hell! I usually try to keep this blog PG-rated, but those were the three words that latched on to me when it was time to start writing this piece. Telegenic Pleasure is a band I reviewed quite favorably back in 2019 (I was shocked to discover it was actually that long ago!). But on its second LP, the London (England and Canada!) based duo has gone mega next level on us. Out now on No Front Teeth and Feral Kid Records, Concentric Grave is the work of two titans of our community: Rob Brake from Mononegatives, Isolation Party, etc. and No Front Teeth head honcho Marco Palumbo-Rodrigues (I'll refrain from mentioning all his bands since you don't have all day to read this review). The album was written and recorded back in the dreadful summer of 2020. Brake created the music in Canada. Across the pond, Palumbo-Rodrigues added the vocals. I almost can't believe this album was produced in such a manner. It sounds like the work of a single (and very brilliant) brain. All I can say is that these two men's artistic visions are remarkably in synch. So either these guys were separated at birth or they had the means to communicate telepathically across an ocean. 

Telegenic Pleasure's first release was that rare synth-punk album that I could honestly describe as enjoyable. But with Concentric Grave, this duo has truly blown me away. I've always thought of Rob Brake as a mad genius composer with a synthesizer. Now imagine what a guy like that could come up with while haunted by the specter of unprecedented social isolation, the world in disarray, and death literally floating in the air. His compositions have never been more dynamic and enthralling, and surely the voices in his head sounded a lot like Terminal Gagger. Concentric Grave is full of songs inspired by anxiety and despair, yet it manages to be tremendous fun and musically alive. These intercontinental Londoners make music reminiscent of some obvious godheads (Devo, Screamers, Gary Numan), but there's plenty of their own unique brilliance flowing through these 12 songs. Far more than just part of the atmosphere, Brake's synthesizers drive these songs. Palumbo-Rodrigues' lyrics and vocals are some of the strongest of his career — and that's really saying something. Ranging from frenzied and frantic ("Shallow Human Characteristics," "Greed for Guilt") to chilling and foreboding ("Imaginary Crimes") to angular and energetic ("Random Sequence"), these songs are as hook-laden as they are haunting. There's a truly impressive pop sensibility lying beneath the surface of these songs. "Sugar Effigy" is what I wish all synth-punk could be  — a total adrenaline rush with synths that sound like laser guns. "Hidden Moon" is the best song Joy Division never wrote. "I Wanna Know" gives the Demics classic a nifty postmodern makeover. "Underlying Problem" is Devo-core that puts all other Devo-core to shame. "Polarized" is the ultimate anthem for our times. 

If I'm often lukewarm on the synth/post-punk thing, it's because music of that sort frequently strikes me as dull or lacking in emotion. Concentric Grave is the very opposite of dull and lacking in emotion. It's the sound of two souls kicking and screaming their way out of the darkness. And we are now far enough removed from peak pandemic times to be able to enjoy an album of this nature without it hitting too close to home. There have been quite a few extraordinary albums released in 2023 already, but this sophomore release from Telegenic Pleasure is on a collision course with my year-end top ten.

Friday, March 24, 2023

The Trouble Seekers - NERVOUS​/​SCREAM


The Trouble Seekers — Kevin McGovern and Hillary Burton  — are back with a new single called NERVOUS​/​SCREAM. This is already their fifth single and seventh release overall. This strikes me as a bit of a conceptual release since the title evokes a particular sensation while also referring to two distinct songs. As always, Kevin and Hillary bring you the punk/new wave sound of the '80s — the 2080s! I usually find myself kicking and screaming in resistance to any attempts to push the punk genre into the future, but I can't help but love what these two are doing. While almost every other post-punk band is playing checkers, The Trouble Seekers are playing chess and controlling the pieces with their minds. Both of these tunes put the punk back into synth-punk. If you love the way these two create their own unique vision using synthesizers, drum machines, deadly sharp guitars, and awesome dual vocals, these two songs will not disappoint. King Ralph has rightfully appointed "SCREAM" the band's best song yet. I love the way this song musically resembles its lyrics. This is the sound of going nowhere fast towards inevitable combustion. "I lost my mind/It feels alright" is truly a mantra for the new age. What a crackling pairing of songs this is! Digital tracks are available for download now. Preorders are also open for a special cassette version (available only in the United States) which tacks on the entirety of the band's 14 track debut LP along with an alternate mix of its single "Mistake." Supplies are limited to 100 copies; smash that "Buy Cassette" button sooner rather than later!

Sunday, February 26, 2023

The Bings - Power Pop Planet (The Lost Tapes)


Here's something you won't come across very often: a new release of early '80s style Los Angeles power pop that's actually from the early '80s! The story of The Bings' new CD Power Pop Planet (The Lost Tapes) is pretty unbelievable. These songs were recorded over 40 years ago. The master tapes, seemingly lost forever, were rediscovered in a bedroom filing cabinet during the 2020 lockdown. The band members, who had long assumed that these recordings had been taped over, suddenly found themselves in possession of a literal time capsule from the golden age of power pop. Around the same time, The Bings' 1981 single "Please Please Please" (the band's only official release) became a hot collectors item on Discogs. With there being renewed interest in the band and free time on people's hands due to the pandemic, the next logical step was to bring these recordings back to life. The original masters were restored and digitalized. And now all of these songs exist as an official release available on compact disc as well as on YouTube and all the major streaming platforms. Power pop fans, lend me your ears! 

The 7" tracks alone ("Please Please Please" and "Oh No!") would justify a purchase of Power Pop Planet. They are bona fide artifacts of classic LA power pop and would fit perfectly on a playlist alongside the likes of The Knack, The Beat, and 20/20. While I'm always eager to discover new bands that sound like this, there's something about a genuine early '80s power pop recording that can never be duplicated. This is, as they say, the real deal. I can't get over how well restored these tracks sound! The album as a whole is very comparable to most power pop LPs released in that era. None of these songs would sound out of place on one of the Valley Girl soundtracks. The wonderful "Don't Stop Dancing" is another A-side worthy cut, while "Close Your Eyes" and "Hold On" demonstrate that The Bings had plenty of solid power pop tunes in reserve. If "Just a Child" sounds like a long-lost new wave hit, that's because it literally is. Elsewhere, the band mixes in some ballads ("There She Goes"), rockers ("She's Got the Power"), and rootsy pop rock numbers ("Billboard by the Highway") to make this an enjoyable, well-varied release. How many hours of my life have I spent combing through record store bins in search of albums exactly like this one? Luckily, you won't have to work that hard to acquire Power Pop Planet. Compact disc and digital purchases can be made through Bandcamp, and you can find the album on just about every streaming site. Follow the links below to read the complete story of The Bings!


Wednesday, January 25, 2023

The Shang Hi Los - Aces Eights & Heartbreaks


Can you believe it has already been two years since I first prayed to the music gods for a Shang Hi Los full-length album? Having now had said album in my possession for a couple weeks, I will reiterate one of my core beliefs: music this good is always worth waiting for! Heading into 2023, the Rum Bar Records release Aces Eights & Heartbreaks was hands-down my most highly-anticipated album of the year. Not so long ago, I publicly predicted the album would be a "blockbuster." I must say it has proven to be all that and then some. 

To recap: The Shang Hi Los formed in 2019 and feature two of the finest singers and songwriters in modern-day rock and roll. Dan Kopko (Watts) and Jen D'Angora (The Dents, The Downbeat 5) are co songwriters and lead vocalists. They're joined by bassist Lee Harrington (The Neighborhoods, Future Dads) and drummer Chuck Ferreira (Eddie Japan, Lonely Leesa & The Lost Cowboys). The 2021 EP Kick It Like A Wicked Habit was a promising debut for this Boston super group, but Aces Eights & Heartbreaks totally blows it out of the water. While the influences for this release vary from garage rock to new wave to punk rock to power pop to spaghetti Westerns, what comes through here is that The Shang Hi Los are above all else a great rock and roll band. And the world can always use more great rock and roll bands. This record has got it all: killer riffs, magnificent vocals, radio-worthy choruses, awesome guitar solos, epic drumming, massive production, and melodies that will stick with you. The Shangs are the rare all-star group that's even more than the sum of its parts. Kopko and D'Angora work so well together (both vocally and as a creative partnership) that it's hard to believe they haven't been collaborating forever. Here and there, I might find myself saying "That sounds like a vintage Danny Kopko riff" or "This could have been a Jenny Dee song." But for the most part, The Shang Hi Los sound like something neither songwriter could have fully created on their own. 

Like any great rock album should, Aces Eights & Heartbreaks comes roaring out of the gates. "Takes One To Know One" is energetic, fun, and musically irresistible — a side 1/track 1 that even prime Cheap Trick would have envied. "Monsieur Valentine" sounds like the best Blondie song in decades (if it's not released as a single for Valentine's Day, that will be an opportunity missed!). With the bar set that high, the Shangs keep it going all the way to the end. The title track is a legit good stab at disco pop that has "couples' roller skate 1980" written all over it. "Plymouth Rock" is perfect punky power pop. "These Four Walls" and "Ingenue" are pure rockers with hooks for days. And of course there's "Billy" — a recently anointed Coolest Song in the World on Little Steven's Underground Garage. Why did I wait so long to mention the hit? Well on an album like this one, every song's a hit! 

Aces Eights & Heartbreaks represents everything that's wonderful about rock and roll. It features two excellent singers who sound great both individually and in harmony. It's stacked with stellar tunes that will have you tapping your toes, singing along, and breaking out the air guitar and drums. I wouldn't exactly call it "retro," but it recalls a time when they still played great rock songs on the radio. When these songs are playing, it's an eternal summer. God bless Malibu Lou for unleashing this masterpiece in the middle of January and laying waste to our collective winter blahs. The bar is always open! 


Thursday, December 22, 2022

Nasty Party - Monochromatic TV


So I've been going through my favorite releases of 2022 in preparation for my annual end-of-the-year post. Yesterday I headed over to Bandcamp so I could give Nasty Party's recent EP Loaded Dice another listen. And what did I find? A brand-new EP! Now that's my idea of an early holiday gift! Monochromatic TV is Nasty Party's fourth EP since December 2020, and it continues the Sydney-based duo's quest to fill the world with music that will make you wanna rage against the powers-that-be and dance like there's no tomorrow. If you thought Simon and Rhys might have mellowed by this point, you'd be very wrong. On Monochromatic TV, they're more worked up than ever over the sad state of affairs in Australia and the failings of politicians who seem intent on making it all worse. In particular, they address lock out laws, climate policy, and the current state of political discourse. As always, the music triumphantly rides the thin line between classic punk and new wave. Spiritually, Nasty Party are the proper heirs to The Clash and Midnight Oil. Yet they have a sound and style that's all their own, and they've yet to write two songs that sound alike. "Pollies" just might be the greatest political song I've heard in the last five years. I love that while this tune specifically rails against politicians in Australia, its message, sadly, is universal. I envision people on every continent gleefully shouting that chorus. The title track explores the psychological effects of the government's abusive relationship with the people. Along the same lines,  "Lie To Me" manages to be both an impassioned political rant and a perfect new wave pop song. "Wasn't On the TV" is Nasty Party at its most manically punkiest, and it makes me wanna run around like crazy and fuck shit up.   

Arriving on the heels of the brilliant Loaded Dice, the equally formidable Monochromatic TV sustains the energy, passion, and irresistible musical charm that have made Nasty Party one of the leading bands in the newest wave of new wave. I understand that protest music isn't for everyone. But Nasty Party is one of those bands that knows how to write great political songs that are great songs, period. Undeniably, the current wave of Australian punk groups is something very extraordinary. If you're still not including Nasty Party in those conversations, I highly recommend you dig into Monochromatic TV and the rest of the band's catalog.

Tuesday, September 13, 2022

Hayley and the Crushers - Modern Adult Kicks


Hayley and the Crushers were already one of my favorite bands. So it feels a little strange for me to say they've made an album that completely blows away everything they've done before. But sure enough, Modern Adult Kicks (out today on Kitten Robot Records) is a next-level step for the now Detroit-based Crushers. This album, my friends, is everything. Remarkably, the band has managed to make a very serious album without losing the fundamental joy of the Crushers experience. If you're putting on this record with expectations of punk, pop, and fun, you will not be disappointed. But it's a different kind of fun on this record — one that the band has pulled off marvelously. 

As the title suggests, Modern Adult Kicks finds Hayley and the Crushers fully embracing maturity. That can be the kiss of death for a punk-pop band, but the "grown-up" Crushers are truly the best version of themselves. Of all the pandemic inspired albums I've heard over the last two and a half years, Modern Adult Kicks is definitely my favorite. It's not necessarily about the pandemic, but it was inspired by all the heavy real-life stuff the band members went through post-COVID. Songs on this release address themes such as isolation, disappointment, addiction & co-dependency, longing, disillusionment, and just general angst. At a time when almost all of us have been "going through some shit," this album has the feel of the Crushers giving the world a great big hug and telling us that it's okay to not be okay (but to always keep dancing!). As I ponder how I've largely suppressed my own pandemic anxieties for the past 30 months, I find myself really feeling Modern Adult Kicks. I was either going to have this album in my life or one day randomly have a breakdown in the cereal aisle at Target. 

One thing that I appreciate about Modern Adult Kicks is how perfectly the Crushers' recent singles ("Cul de Sac," "She Drives," "Click and Act Now!") fit in with the album as a whole. I remember hearing "Cul de Sac" for the first time and thinking, "Wow, this is an amazing new direction for the Crushers." Now I'm hearing the fulfillment of this direction on Modern Adult Kicks, and I'm blown away. Working with legendary producer Paul Roessler, the band has achieved a timeless yet modern new wave pop-rock sound that demonstrates that a punk band can grow up and still be, you know, punk! And with Roessler's support, Hayley Cain has elevated her singing talents to new heights. Vocally, she taps into emotions ranging from sorrowful to angry to tender to wistful to wicked to feisty  — and every note rings true. Hayley and the Crushers have always had a knack for writing those immediately catchy pop songs, but Modern Adult Kicks is full of tunes that slowly and sneakily get into your bones. The album's absolutely perfect side 1 culminates with two such songs: the intensely emotional "Broken Window" and the deeply yearning "I Fall." The aforementioned "Cul de Sac" and "She Drives," exceptional singles in their own right, take on a new power within the flow of this album. 

As serious of an album as Modern Adult Kicks is, it's not without its lighter and brighter moments. "Click and Act Now!", which hilariously skewers late night TV infomercials and shady product pitchmen, will have you starting a mosh pit in your own living room. "California Sober" pokes fun at people who get high and call it "spiritual." "No Substitute" is a wonderfully uplifting cover of The Shivvers' power pop cult classic. "Overexposed" is a reflective and nostalgic recollection of the heyday of online chatrooms. Altogether, this album is as advertised. It finds Hayley and Dr. Cain navigating growth, change, and the sometimes unpleasant realities of adult life in this post-pandemic world. And yet that light that Hayley and the Crushers have always emitted shines as brightly as ever. They are here to remind us that when real life knocks us down or sets us back, our best choice is to keep grinding and hold on to hope. The irony of 2020-21 being such a tough spell for the Crushers is that it was also when Josie Cotton recognized their talents and welcomed them to her record label. The Crushers have benefited greatly from working with a label and producer that fully "get" them. Combine that with a heavy dose of real-life inspiration, and you've got a formula for something special. I can't even name a favorite song off this record because I have a different one every day. If "maturity" for Hayley and the Crushers means such things as emulating Pat Benatar and writing songs inspired by Ira Levin novels, then I am all about it. Get your Modern Adult Kicks on blue-raspberry vinyl while supplies last!