March 17, 2014 Dropbox Notes

Posted on March 17, 2014 by KFR

Happy St. Patrick’s Day. May your beer be green. After a really good month of releases, March is also shaping up to be a great month with a number of excellent releases worthy of inclusion in your collections. I’ve recovered a bit from last week’s rant, so things should be a little more positive. I am excited about this year, to the extent that there are some very positive developments in the direction of new music: psychedelic music ( which I’ve decided to label as modern psychedelic (“mod-psych”) seems to be gaining a stronghold and there are some interesting adaptations as bands incorporate more garage influences into this genre as compared with past efforts which were more symphonic/prog influenced; there is an increase in the number of “loud” bands, i.e. punk/thrash/hardcore/noise bands that are much more melodic and cognizant of song structure which is a nice break from the very synth oriented alt rock light that is finding radio airplay, and finally, some great records from prior dropbox bands, such as We Are Scientists, The Men, and The Augustines, are either newly released or are about to be released and continue to bring listening enjoyment. Frankly, that is more than one could hope as the turmoil in the real world continues to demand more attention. Hope you have a great month in reality, and enjoy this month’s dropbox offerings.

A brief note before we begin: A question that arises from time to time is why there are no rankings or ratings for the monthly drop box releases. Good question. I know that other reviewers spend time trying to assign a numerical value to the release. I used to believe that these had some meaning. However, when you actually think about it, and I actually took a few seconds to think about what that value, which purports to be objective i.e. when we assign numbers to things then we are saying that we can measure the relative value of that thing. The same holds true with letters – A is great, F is bad and the rest of the letters meaning some level between great and bad) The commercial is true – bigger is better. Usually. Places in timed events are an exception. So, when you look at a rating from a magazine review or blog review, the assignment of a value in their rating system purports to also measure the worth of that recording to the reviewer but also the reader. The reviewer is in the business of selling their perspective on a recording – good, bad, or indifferent to the reader. The reader, based upon really incomplete information i.e. who is this reviewer, what was their emotional state when they were listening to the release, what is their experience with the artist prior to this record, what particular genres do they like to enjoy as compared with review, etc. must make a decision about the release based upon this incomplete information but also their own listening preferences, experience with the artist prior to the new release, and depending on how much work one wants to put into the process, determine if the reviewer is in the same mind as they are in making a determination to listen to a record. Brutal. So, when confronted with the fact that those casual viewers of Tales From The Dropbox have really no idea who I am as a person, and my fundamental belief that music is not competition, I decided at the inception of Tales From The Dropbox that I would only put in the dropbox things that (a) I had actually listened to more than one time; (b) That I actually liked; and (c) That I enjoyed listening to repeatedly. For me, and only me, I thought that it was better to write about releases that I enjoyed because too much of what is written in print and online is negative. That is, reviews are oft times more concerned with why a release is worth the assigned value than why they enjoyed the release at all. To avoid that potential trap, I have just tried to find those releases that I liked enough of the tracks to listen to again and again. This is not to say that I do not have any releases I do not like. That list is in fact very large. I just don’t care to keep track. For example, I didn’t like the Lorde record Pure Heroine. I know, every reviewer told me that it was excellent and one of the best debuts of all time. Still, I didn’t like it and I actually cringe when I hear the single played on the radio. I’ve blocked out the title, but you know which one I’m talking about. And that is why the dropbox notes are written in the format they end up taking. I try to give you enough, I hope relevant information to decide for yourself whether you might also enjoy the record.

And to be clear, not all of the records in the dropbox are perfect. That is, not all the songs on a record are “singles” whatever that means anymore. For example, as I write this, I am listening to what I think would make a great radio single: “Sound of Tomorrow” by the Striving Vines. Will it ever be on radio – any radio? Perhaps indie radio but certainly not any commercial radio station. Why you ask? I have no idea. I used to believe I knew. Once, a long time ago. Not now. I have no idea how some of the stuff that is played on radio actually gets there and why the same 30 songs are played endlessly, sometimes for years, on radio stations throughout the country. But now, with YouTube and other music media related sites and the artist sites, I don’t have to listen to radio. But I still read reviews to see if there is something that might tickle my interest. So, a record that makes the dropbox is to me enjoyable for the most part. There are some tracks I skip, some songs where I wonder what the $^# does that lyric mean or that is a brutal rhyme, etc. But overall I am enjoying the listening experience.

So, there you have it. The real reason why I write this stuff. My hope is that you find enough each month that you enjoy in the dropbox and that these notes make it a little easier to pick out something of interest. You already know that I like everything that is in the dropbox. So, with clarification…away we go!

Following up the theme from last month – albums from 2013 that I missed or didn’t get to in time, Blackchords are a Melbourne Australia rock band who play a mix of U2 inspired electronic alt-rock that introduces more synths than their previous eponymous outing to A Thin Line, their second album. Overall, the songs strike a “chord” (see how I did that!) with the listener as the majority of the album deals with avoiding the distractions and from the slow build of opener “a Thin Line though to the first single, the up-tempo “Dance Dance Dance” the songs build as the band creates a soundscape that sonically peaks here and then, the tension releases to the last track, the sweetly acoustic tinged “All the Good Things.” This is a distinctively Australian pop album, and thoroughly enjoyable. It’s a shame that the album was missed, because the entire record is very carefully crafted, and this truly deserves a much wider audience. My guess is that they become huge stars in Australia, and unfortunately are ignored in the U.S. This would be a great show. Try” Dance, Dance, Dance,” “Oh No” and “Into The Unknown.”

Toronto Ontario’s Papermaps released their second full length is October 2013 to little fanfare, but after having played it a number of times over the past couple of months, Darker Lights, is an unexpected diamond in the rough. Much darker than their first offering, I love this record from the opening riff of “Shadow Theater” which envelopes you with its post-punk guitar work reminiscent of early Echo& The Bunnymen, through the last track the gritty “Vanauley Walk” (an area of Toronto noted for gangs). Admittedly, it took me a couple of listens to get into Darker Lights, but something resonated, and the repeated experience is worth the effort. There are some shoegaze elements to the songs, but there is also a harder edge to some of the songs, that make for a varied experience (on “The Edge Of China Town” I was reminded of Canadian greats, Lighthouse). Try” The Edge Of China Town,” “The Memory Song,” and “I’ve Closed A Door.”

Another victim of releasing a record in December, is Portland’s Genders, who on their debut Get Lost, mine some 90’s alt-rock territory effectively producing a guitar record which underpins the terrific vocals of Maggie Morris and Katherine Paul whose warm tones give the dream rock/post-rock flavored album enough grit to standout from other like-minded bands from the Pacific Northwest. The songs are lengthy workouts, particularly the opener, “Something To Get You By” which sets the tone for the rest of the record. There are a number of interesting things going on throughout the record, but for me were the shimmering guitar work introducing a little jangle to the post-rock and fuzz, and the enigmatic Beach Boy harmonies floating through the fuzz. This is a sonically different record than much of what passes for indie rock, so worth a few spins. Try: “How Long Can I Wait?” “Secrets,” and “Something To Get You By.”

By far one of the most interesting albums this month is Birmingham England’s New Killer Shoes debut release, the acoustic version of 2011’s I Ain’t Even Plugged In redone. This is not your typical acoustic record by any stretch of the imagination – it’s loud, it rocks, and the percussion is engaging mixing a blend of ska, reggae, punk, and engaging melodies, there is not one track on this album that didn’t leave me with a sugar craving. A mix of the Kooks and Oasis ( really – you’ll hear the vocal tone immediately), these songs show off a mastery of pop songwriting. Can’t really say enough about this record. It was on repeat for a month. Try” Hypocrite,” “Pretty Reckless” and the Police flavored “I Ain’t Got A Chick.”

Full tilt rock n’ roll, Peterborough’s (England not Ontario) We Are Fiction mines the same territory as Billy Talent and Linkin Park and this is an awesome rock record. Fast melodic punk rock with great hook laden choruses, the album leaves you breathless as this is a full on sonic assault from first track “Mansion House” through the end. The distinctive raw throated vocals of Phil Barker counterbalanced with the more melodic tones of Marc Kucharski are reminiscent of Linkin Park when they were actually good. They are not now. That is sad. We Are Fiction are not mining new territory, but the enthusiasm is powerful and this was a good listening experience. Try “Old Wounds,” “The Worst of It,” and “Forget About Me.”

Seattle retro rockabilly surf garage jangle poppers and rockers, La Luz debut album is an anachronism – simple clean sounding and brilliant debut, It’s Alive which sonically harkens back to the twang of the late great Duane Eddy and the Ventures. There are a number of tempo shifts as the record swings back and forth through the best that this genre has to offer. The centerpiece of It’s Alive is “Big Big Blood” with its Morricone intro dissolving into a gospel influenced surf clash that would naturally find a home on the Pulp Fiction Soundtrack. Try” What Good Am I?” “Big Big Blood,” and “Morning High.”

Pop punkers We The Kings hail from Florida, but unlike most of the Floridian punk scene, We The Kings have, on Somewhere Somehow, found the delicate balance between the boy-band pop side, apparent from vocalist Travis Clark’s sweet sounding vocals, and the pop-punk side which made them warped tour regulars with other similar sounding acts such as Fall Out Boy and Panic! At The Disco. Another December 2013 release, the songwriting is noticeably stronger on this record, the bands fourth. The closest resemblance to Fall Out Boy is found on “I Like It” but We The Kings are not mere copyists, finding their own groove on tracks like “I Feel Alive” and “Die Young Live Forever.” I will warn that this is a difficult to listen through all at once as the sugar pop becomes sickly sweet in one dose, as the tunes darker lyrical themes are effectively hidden in the up-tempo pop-punk. However, as a track pops up in shuffle, I think you’ll be hooked. Try “Art of War,” “Queen of Hearts,” and “Sad Song.”

Nashville would seem to have little to do with punk rock, but Nashville’s Cheap Time, a punk trio from the home of country music, have released their 4th LP in five years, the very fine Exit Smiles. A mix of Buzzcocks, Damned, and early California punk rock i.e. the Macdonald Brothers (Red Cross), this is a loud and snotty album which is far too short. I was left wanting more as Jeffrey Novak sounding like Steve Diggle, blasts his way through these 8 tunes. Try “Kill The Light,” “Exit Smiles,” and “8:05.”

A weird record by far for 2013, Jason Arnold aka Shyboy, has released Water on Mars which I swear is a cross between the Alan Parson’s Project and Steely Dan. There is no other possible way of describing this blend of prog-pop. I would not ever willing pick up a record like this if I had read the last sentence. I stumbled across this record and the mix of white soul (does that even exist?) and electro-pop was captivating. “Carousel” is typical of the songs on Water on Mars – a blend of soul vocals over an electronic beat laden bed with perfect harmonies moving in and out of the soundscape. Definitely a different listening experience. While I don’t quite agree with the Huffington Post review as the “Debut Pop Album of 2013” and “stunning” it is dropbox worthy. Try” “Carousel”, “Bird In Flight” and “Marion Crane.” Also, try this cover of Nik Kershaw’s “Wouldn’t It Be Good” which doesn’t appear on the record, but is a darn good jam.

Iceland’s Tilbury, founded by drummer Thormodur Dagsson (Great name!) on their second record find the indie pop groove building a slow burn as the songs on Northern Comfort build on the self-described folk pop leaving the sparse arrangements naked for the listener to absorb. There is a lushness amidst the open spaces on these tender tracks, all to great effect as the subdued vocals compel you to listen. It’s a great device as the music is so tightly played that you are directed to listen to the vocals and the lyrics – a unique inside out listening experience. Many records are not built in this manner. On conventional pop records, you can sing the chorus which is crisp and clean and then you can’t recall a single verse. Here, the way each song is constructed you hear the music and then have to dig into the lyrics which creates an exciting listening experience. Compelling is the best way to describe this record. Try” Northern Comfort,” “Turbulence,” and “Transmission.” Take a look live from Iceland on KEXP.

We are Augustines now just called the Augustines, formerly from Brooklyn and transplanted into Seattle, are obviously looking at a new direction. But that new direction doesn’t neglect the stellar songwriting and melodies which found them in the dropbox and in my top 10 records (Rise Ye Sunken Ships) from 2011. On the self-titled second album, Augustines, the band obviously picks up from where Rise Ye Sunken ships left off, but now everything on this record is bigger, bolder, and brighter and this might be one of the best rock albums of the year. I kid you not – this is a unique sound – vocalist/guitarist Billy McCarthy’s vocals are captivating and the songwriting which is reminiscent of the Gaslight Anthem and the Hold Steady, hints of Springsteen, and captures the intensity of McCarthy’s journey. This is a solid record throughout and you can’t help but feel the emotion flowing thorough this record, particularly on the epic “This Ain’t Me” ( I can change, said the walls as fast as they could…). Brilliant. Try ”Cruel City”, “Kid You’re On Your Own,” and “This Ain’t Me.” Also a KEXP show See the Full Performance from early last month after a show in Vancouver.

For me, Newmarket Ontario’s Tokyo Police Club are the model of consistency. Having, now produced several EP’s and with its third full length, Forcefield, Dave Monks and the rest of Tokyo Police Club produce yet another amazing indie pop record full of complicated rhythms and catchy melodies that suck you into the sonic swirl. Opener “Argentina (Parts I, II, and III)” clocks in at 8:32 and every second of this song fits and is truly enjoyable – thrilling at times. I’m not sure how they will edit it for Canadian radio, where Tokyo Police Club’s last album 2010’s Champ produced four singles, three of them Canadian hit singles: “Breakneck Speed,” “Wait Up (Boots of Danger),” “Bambi,” and “Favourite Colour” (Note the double Canadian word. For the U.S. Readers, the last song is “Favorite Color.”). Note none of these songs found the radio in the U.S. Forcefield continues the terrific songwriting and catchy up-tempo guitar friendly rock. Try: “Hot Tonight,” “Beaches,” and “Tunnel Vision.” Great record! And just for the hell of it, try this cover version of “Since You’ve Been Gone.”

What I like best about NYC’s post punk act Drowners who like the Strokes who came before them feature a male model in Matt Hill (from Wales) is that they are not afraid to tread where the mighty Strokes have previously traveled. Drowner’s is a guitar band who like that great period in 2002 -2003 have reinvented the indie guitar band. In places Drowners self-titled debut leans a little heavy on the Strokes guitar and vocal model, but where they really shine is on the Interpol/Brit pop flavored tracks like “Luv, Hold Me Down.” No secret that the band’s name is derived from the Suede single of the same name. However, the record tips its hat to the Smiths, particularly on a track like “Unzip Your Harrington.” This is a straight forward catchy indie dance rock album and the tendency will be to dismiss the record because it sounds like an amalgam of all that has come from before. However, that would be to sell this thing really short, because more than anything it is a fun record with its 80’s and 90’s influences producing some terrific songs. As debut records go, there is much to like about this record and I found myself coming back repeatedly to play the darn thing in its entirety. Try “Long Hair,” “Unzip Your Harrington,” and the exceptional “Bar Chat.”

One of my favorite bands of the eighties, New York’s pre-eminent garage rockers, the Fleshtones, bring their unique blend of 60’s influenced soul-garage back with a new record of fuzz filled jangle garage rock songs that stays the course after a career spanning nearly four decades (formed in 1976). I was able to see the Fleshtones a couple of times in the 80’s at the height of their powers and these were wild ragged affairs which I remember fondly. Wheel of Talent avoids the pitfalls of other 80’s bands releasing new records. The Fleshtones have obviously not forgotten that they are the kings of Super Rock! After 22 albums ( yes – 22 full length albums) there are some new twists to the super rock sound – such as female vocals and strings, but the whole thing is fresh and fast paced nostalgic look at an era that is, sadly missed. Perhaps the Fleshtones brand of garage rock will never make a comeback, but this album is a worthy addition to a very fine catalog by a singularly unique band in rock history. Try ”Roofarama,” “What I’ve Done Before,” and “The Right Girl.” See them in all of their live glory at the Concetera TV produced concert in Sonar, Siena, Italy from December of 2013.

London indie pop rockers Hatcham Social occupy a unique space in the indie rock world – their avant-garde approach to their blend of angular rock, makes for some very interesting listening. What is charming is the unpredictable nature of this record which encapsulates some of the Velvet Underground’s finest moments and the lovingly crafted lo-fi songs creating a magical atmosphere. A great record. Try “All That I Can See Is A Gun,” “To The Moon (Is This The Way Man Will Survive)” and the brilliant “Lion with A Lazer Gun (Original).”

Another lo-fi record, albeit with a very different approach is M.C. Taylor’s latest record Bad Debt. Taylor, who records under the Hiss Golden Messenger moniker original recorded these songs in the dead of winter in North Carolina in 2009 following the birth of his son. The original recordings were whispered so as not to disturb his family. Those original recordings were lost in a fire during the London riots in 2010, and now, these recordings, which are sparse and rustic explore relationships on several levels and there is a slight dissonance between the confident playing and the uncertainty and hesitation in the lyrics. The folk nuances are a simple and focused and there is a spark that makes this record a winner. Try ”Far Bright Star” (which is about the birth of his child and the uncertainty of being a new father “I am terrified”), “Straw Man Red Sun River Gold,” and “Super Blue (Two Days Clean).”

Another returner to the dropbox is the new album by the John Butler Trio entitled Flesh And Blood. This album, the Australian trio’s 6th, is a work of art. Delicate and rich at the same time, these blues influenced roots rockers have produced a spirited take on their own sound. John Butler can play a mean slide and these blues inspired workouts are Australian flavored. Do not be deceived by the fingerpicking opener “Spring To Come” which is sparse and fingerpicked, it is quickly followed by “Livin’ In The City” which highlights JBT’s blend of rock, pop, and mean blues. Echoes of Stevie Ray Vaughn pervade this record, but make no mistake this is definitely a JBT record – the songs are brilliantly crafted and the guitar playing slick, really slick, so that even if you are not a typical fan of this type of music, you’ll be taken back to Louisiana and New Orleans on several of these tracks all sung with JBT’s distinct vocal styling. Try “Devil Woman,” (this version live from the Commodore Ballroom in Vancouver!) the single “Only One,” and “Higher.”

I would have dropped the Reverend Horton Heat’s new record into the dropbox without even listening to it because the Jim Heath, aka the Reverend is a model of consistency. You know exactly what you are going to get with each record, and somehow it always seems to be refreshingly welcome even though each record covers essentially the same territory. I guess practice makes perfect. What is different about this latest record is that it is a return of sorts to the psychobilly style Heath is best known for and explored throughout the late 80’s and early 90’s. Psychobilly was a mix of punk and rockabilly blended into sonic perfection and Reverend Horton Heat essentially own the genre all by themselves at this point. Rev is the first RHH album in 4 years since 2009’s traditional country record Laughin’ & Cryin’ with the Rev. Horton Heat. This record plays to RHH’s strengths with the rockabilly guitar at the forefront on some pretty amped up numbers (Think Stray Cats on Speed). Try “Zombie Dumb,” “Mad Mad Heart,” and the blistering Cramps styled “Let Me Teach You How To Eat.”

Joan Wasser aka Joan As Police Woman ups the soul sonics on her latest The Classic, Joan produces a bright sounding diverse soul influenced record that gathers an array of elements from do wop, Motown, soul through funk, and successfully blends them into a quality listening experience. If you are old enough to actually remember the great records that came out of the late 60’s such as this pretty amazing trio from Aretha Franklin (whom Joan definitely has a kinship with): I Never Loved A Man The Way I Love You (1967), Lady Soul (1968) and Aretha Now (1968), then you will respect Joan’s efforts to recreate a sound from a time many have long forgotten. The playing is note perfect and Joan’s incredible vocals and song arrangements, achieve “the classic” sound Joan is recreating to great effect. Naysayer’s will dismiss the record for being too scattered as it attempts a vast array of styles within the genre, but the changes of pace and style make for very interesting listening. I sat there trying to predict where the next song would take me….and it was always a great trip. Try: “Witness,” “Holy City,” and “What Would You Do.”

Seattle’s Shake Some Action! Are not hiding who their influences are on their fifth record Catch The Sun which is one of the best power pop records released in the past couple of years. One review I read indicates there are some Tame Impala and Melody’s Echo Chamber similarities, but that comparison is trite. This is a jangle pop record par excellence and these finely crafted sunny songs will cheer up the foulest moods. There is overall a distinct dBs flavor to the record – particular on tracks like “Fall Into The Sky” which could be an outtake from Like This. It might be that James Hall sounds like Peter Holsapple, but for me, easily one of the most enjoyable this month in the dropbox. I love this sound. Try “Fall Into the Sky,” “Between My Dreams,” and “You Don’t Know What It Means.” Here is the official single “Wait For Summer.”

Danish indie-electro-poppers Striving Vines new release entitled Obstacles is a hook laden pop record full of sweet hooks and choruses that were made for top 40 radio. Jonas Miller and company has made a record that falls neatly in the Killers/Keane category with this release, which I believe is the bands third. It’s hard to tell as the only information I found was in Danish or German. The band has apparently also toured Canada in the past year or so. So, there you have it. All I know. A very good elector pop release that makes you want to clap your hands, tap your feet, and sing the sweet falsetto laden choruses. There are also some ooooohhhs as well. Hard to miss. Thoroughly enjoyable pop record. Any of the next three songs I’m going to recommend would in any sane version of radio be hits: “Sound of Tomorrow,” Only Time Will Tell,” and “Cracks.”

Like Reverend Horton Heat, I would have put the new Supersuckers record Get The Hell in the dropbox without the requisite listen. Why? Because the Supersuckers are amongst the greatest rock n roll bands in the world. Their live shows are wild outrageous affairs much like the beloved and sadly missed Beat Farmers. The Supersuckers own this genre of music often called “sludge” but really a mixture of punk rock, rock n’ roll, and hints of rockabilly all finally tuned into a sonic assault filled with killer guitar runs, big hooks and wild abandon. And you know what? Get the Hell has all of that. In many ways Get The Hell is a return to the Supersuckers origins as these 12 songs blast with a punk rock fury reminiscent of their first primordial release. Nine records is the Supersuckers are stronger, faster, louder and funny than ever. Awesome! Try: “Fuck Up,” “Pushin’ Thru,” and “Gluttonous.”

Interlude: Wow, after listening to the Supersuckers, you’ve got a trip to the other end of the music spectrum with the pop sounds of Alpaca Sports. Really – the very far end of the musical spectrum compared with the Supersuckers. I just played Supersuckers back to back with Alpaca Sports and now I’m a little dizzy. Be forewarned, Alpaca Sports sounds like elevator music compared to the Supersuckers.

Nevermind…I’m just taking a break to try to start fresh……

And ….I’m back. As we’ve been exploring in previous dropboxes what I am now calling “nerd pop” as an emergent genre whose forebearers would of course be Weezer and the commercial flag bearer would be fun, this sort of electro-pop seems to be gaining traction. In the past I’ve put in the dropbox bands like San Cisco and Neon Trees, and the prior Alpaca Sports self-titled debut. Gothenburg, Sweden seems like an unlikely place for a pure pop experience, but Sealed With A Kiss is that experience to its fullest. Sealed With a Kiss is an album full of romantic songs all soft and cuddly like the band’s name. If you’ve picked up the debut in the prior dropbox you’ll see several of the songs reappear on this release. However, there is a second LP of remixes entitled Bella’s mix tape which provides an interesting counterpoint to the best known songs. Unlike other records where the second disc is full of filler, some of these alternate versions are as good as the actual release. As I understand it, Gothenburg, Sweden’s Alpaca Sports is fronted by singer Andreas Jonsson with a rotating cast of band members. Try” Just For Fun,” “He Doesn’t Even Like You” and “Just Like Johnny Marr.”

And now for something completely different. Syracuse New York’s Perfect Pussy, on their debut Say Yes To Love occupy a sonic territory that once was popular, became almost extinct, and hopefully this brings forth more like minded efforts from bands who could possess this space. A combination of hardcore, thrash and noise, this record, much like the first incarnation of the sound found on the brilliant Husker Du first album, Land Speed Record, is a breath removing claustrophobic inducing mind bender. While you are not going to make out any of the lyrics on Say Yes To Love without the accompanying lyric sheet, there is something exciting about Meredith Graves’ yelling and the propulsive rhythms, odd experimental turns, weird noises etc all ripped out in 23 minutes. Overall the experience is very compelling in a unfortunately, now, non-traditional manner. Not a pop record, eh? Try: “Bells,” “Driver,” and “Dig.” Here it all is live @ 4QHQ (July 10, 2013).

Los Angeles’ (Echo Park, really) No ( really – a terrible band name) are going to catch some flak from the critical press as they mine the same territory as the mighty National, but carefully listening to debut album El Prado reveals that while the comparisons are fair given that vocalist Bradley Hanan Carter’s voice sounds much like the National’s Matt Berninger and the two bands mine the same sonic territory – lush expansive filled with fine melodies and big choruses – but this record is not nearly as dark as the traditional National spin. There is a Hard Fi feel to some of these tracks, particularly on the fine “There’s a Glow” where the drums take the forefront. Solid throughout. Note: Some of these songs have been around awhile, El Prado collects them all. Try “There’s a Glow,” “Stay with Me,” and “Monday.”

Another Swedish indie-pop band (Sundsvall, Sweden) Oh My! makes the list. Sweden, home of death metal, garage rock, and now…indie pop. Like Alpaca Sports they might occupy the same genre, but this is the up-tempo rockier version of nerd pop much like San Cisco, and at times there are some Strokes elements, particularly on a track like “Scary Conversation” which sounds like Julian Casablancas is guesting. On Slow Moves, the second long player and first since 2008, Oh My! keeps things interesting with a number of tempo shifts that keep the program moving. They have had a couple of hits on Swedish radio, perhaps its time for a U.S. debut, huh? (for my Canadian readers, eh?). Try: “Slow Moves,” “Go With You,” and “People.”

So you know – I was #$^# surprised to hear Phantogram appear on KROQ and then quickly on the mirror station 98.7 in Los Angeles. To give credit where it is due – this was entirely unexpected, because this is a very different record for commercial radio, but I think this is more of a programming decision to radical shift listener expectation as KROQ which one time played the Dead Kennedys, ACDC, Everclear, NOFX, and Bad Religion now devolves into an indie pop station. Heck, the disco band Capitol Cities with “Safe and Sound” now sounds like a metal band compared with the rest of what is on the station. Anyway, following KROQ’s lead, my guess is that the rest of the U.S. and Canada also is playing Phanotgram‘s hit “Fall in Love.” What exactly is Phantogram? Musically it is a synth heavy – beat heavy – dream pop record with ethereal vocals sung over a sonic bed producing a full sound. Much like the name, this Sarasota Springs New York duo consisting of singer/keyboardist Sarah Barthel and guitarist Josh Carter, attempts to turn two dimensional sound into three dimensional. And for the most part, they do it successfully. I’d be hard pressed to say that I could repeatedly listen to Voices in one sitting, but like St. Vincent reviewed later, there is enough going on here that warrants a second and third looks. Some of these songs would definitely work better with a full band, and here is to hoping that the next record takes a step in that direction. There is some good writing and as a pure indie project they should see immeasurable success. However, don’t expect stadiums. On a final note, Phantogram’s record is exactly what it is. That is, the band is not trying to be something else or try to fit a particular formula. They are like all good artists, examining their own souls to find what is inside….and then letting it out. In this case the soul is electronic. Try “Howling at the Moon,” “The Day You Died,” and the tender “Bill Murray.”

Speaking of electro-pop or for the purposes of describing New York’s +/- (Plus Minus), indietronic, the band which formed in 2001 and has released 5 albums including its latest Jumping the Tracks, mines the pop side of New Order with Lush instrumentation over an electronic beat. In the past I’d recoil at the the thought of listening to video game music, but the trick to the latest +/- record is that the pretty melodies stick in my head. In the middle of the night I’ll wake up with a tune playing in my head, and that for the past couple of weeks can be traced back to this record. At first I was freaked out. Normally I dream in punk rock, and this was a violent shift – much like the Supersuckers/Alpaca Sports one described earlier. What’s different about Jumping The Tracks is that there is some rock weight to this release – the songs, often dealing with difficult subjects e.g. “The Bitterest Pill” or “The Space Between Us,” are powerful and well thought out expressions. Intelligent, depressing, and effective. Try “There Goes My Love,” “The Bitterest Pill,” and “Jumping the Tracks (Bonus).”

Presidents of The United States Of America, occupy a permanent space in the nerd rock category. This is the rock side and is occupied by They Might Be Giants, Cake, and Yo La Tengo. On Kudos to You!, PUSA’s latest and 6th album Kudos To You was released on Valentines Day and it is a love letter to the nerd pop lovers worldwide (one song is even sung in Spanish – “Rooftops in Spain”). Traversing a number of weird rock and pop genres and rhythms (even a country shuffle) PUSA still occupies the odd ball space to great effect. For those of you who only know the 90’s trio of alt rock hit “Lump”, “Peaches,” and “Kitty” you are missing out on a great band. Fun, upbeat and fully demonstrating their rock knowledge, PUSA’s latest shouldn’t be missed. Try “Stay with Me,” the awesome AC/DC parody “Flea vs. Mite” and “Finger Monster.”

Mississippi’s Water Liars, third and self-titled album released on February 4 of this year, follow up last years Wyoming with a better produced and fuller sounding outing that at first brings to mind a mix of Deep Purple and country – that is, a mix of jarring noise interspersed with crooner Justin Kunkel-Schuster country inflected vocals. Parts are mellow, much like the beautiful ballad “Swannanoa” and others, like the Kings of Leon-ish “I Want Blood,” great mid-tempo pieces that delicately balance the indie rock with the country. Try “I Want Blood,” “Cannibal,” and the Buddy Holly influenced “Ray Charles Dream.”

It’s always great to see bands that you loved in the past, find new life after the end of the earlier band. Part of playing music is finding success. And when a band doesn’t achieve what it believes is the acclaim it deserves and the shows are not filled, then the inevitable happens. The band dies. When Waking Ashland broke up, San Diego’s We Shot The Moon, briefly known as Honor Role ( but likely having figured out that there was a hardcore band with the same name) formed from the ashes, to produce stunningly beautiful pop music in the same vein as Waking Ashland. We Shot The Moon is far more radio friendly and if that is the bands goal – then they have achieved it with room to spare. Concerts are far more fun when the kids can sing-a-long. This batch is definitely listener friendly. We Shot the Moon, is Jonathan Jones the singer of Waking Ashland, and originally, Dan Koch, and Joe Greenetz both from the band Sherwood. The Finish Line is really a start – beautifully crafted pop rock songs dealing with typical boy-girl stuff, but the album overall is interesting without becoming maudlin. Try, the surefire radio hit “If You Want To,” “Fake Love,” and the beautiful piano ballad and closer “The Finish Line.”

Pink Floyd inspired psychedelic space rockers Wild Beasts return with a new record this month entitled Present Tense which may be the definitive Wild Beasts record. Featuring the unique interplay of vocalists Hayden Thorpe (alto) and Tom Flemming (almost baritone) these cosmic soundscapes are note perfect but emotionally engaging– a difficult chore given this particular genre where these types of songs often come off as cool and undetached. One reviewer gave this album a perfect score ( but see aside at the beginning of these notes) but for me, the dynamic interplay of instruments and vocalists was a compelling listen. Try” Past Perfect” “Sweet Spot” and closer “Palace.”

The second album from Australian rockers Papa vs. Pretty entitled White Deer Park furthers their development of mastering the best sounds of the 90’s (and some early Queen records) putting them in unfamiliar sonic territory for 2014. As commercial radio has gone limp noodle, fawning over electro-pop and electronic based music, Papa vs Pretty produces some pretty muscular indie rock all highlighted by the falsetto of Thomas Rawle. All of this was designed to be radio friendly for Australia, who for the past 30 years at least has been way ahead of U.S. radio in almost all aspects of interesting music. However, I fear this record, which at times reminded me of April Wine!, has several catchy indie rock anthems, that in places hints at Muse, will be lost in the great mass of new releases and restricted radio playlists. However, if this is in your wheel house, it truly deserves a listen. Try” Joan Of Arc,” “Rain Check,” and “Smother.”

Picking up the pace significantly, is Auckland New Zealand’s Clap Clap Riot whose second album Everybody/Nobody is essentially a blend of early Arctic Monkeys and the Wombats playing Queens of the Stoneage. i.e. desert flavored indie rock with some Led Zeppelin flourishes as sung by a very talented and unique artist not afraid to take chances. I loved every track on the album from punk rock inspired opener “Nobody” to the ballad “Sweet Patricia,” through the closer “Once Again.” In this case you can judge a band by its look, so I’ve provided a photo of the band (to the left, eh?). (If this is your photo, I’d love to give credit – let me know. Clap Clap Riot probably puts on an amazing live show, but I am unlikely to see them in Los Angeles. Bummer. Try” Nobody,” “All About The Weather,” and “Sweet Patricia.”

Netherlands based Indie rock act Moss released their 4th album in February and it is a firecracker. We Both Know The Rest Is Noise is frankly an intense pop flavored noise pop record containing some winners, particular the radio ready “She’s Got A Secret.” The guitar work is technically proficient and the drop ins are jarring creating brilliant tension throughout the record. There is a little Joy Division at work on this album transforming the angular rock into a post punk masterwork. The harmonies build tension and the bass is throbbing. There are a number of early post-punk bands that come to mind, in particular Gang of Four, but the sound at the end of the day is uniquely Moss. Try ”Reset,” “She’s Got A Secret,” and “We Both Know The Rest Is Noise.” No videos yet, so here they are playing Pinkpop 2012.

Cardigan’s singer Nina Persson has such a unique and charismatic voice, I’d like everything she sings on, and such is the case here with her very commercial and shiny overproduced disco pop solo record entitled Animal Heart. Sure, there is 80’s disco pop (“Animal Heart”) to contend with and some sloppy lyrics, and some Florence and the Machine styling (“Burning Bridges for Fuel”) but for me those were not negatives. A beautiful voice can cover up minor flaws or song choices, and on this record, the best songs are near the end anyway. Put this album into your iTunes shuffle, and when you hear her voice pop up, you’ll go and look to see who is singing until you’ve been captured. Try ”Forgot to Tell You,” “Silver Like the Moon,” and “Sometimes.” And her’s a bonus, Nina’s exceptional cover of R.E.M.’s “Losing My Religion.”

Another interlude: Finally, I spent a little time one evening last week re-discovering what was great about Ska in the late 70’s and early 80’s. Ska’s intersection with punk rock produced some varied results, most of them excellent. Anyway, for those of you who have an hour and ½ to investigate, watch the movie Dance Craze featuring a number of bands I was fortunate to see in their heyday including The Specials, The Beat, Selecter, Bodysnatchers, Madness, and Bad Manners (who I didn’t get to see live). Dance Craze is great look back at some great music at a unique moment in musical history. So, if you’ve got a little time, give it a look @ Dance Craze – The Best Of British Ska.

I’m going to jump around a little bit ( since I’m writing this on Saint Patrick’s day here you go with the House of Pain – Jump Around) because I actually have to do some work:

The Men’s latest Tomorrow’s Hits continues their amazing run of records lately. Still playing the garage record, this record even’s out the tempos with Tomorrow’s Hits being a more mid-tempo affair, blending Neil Young’s Crazy Horse, with psychedelic garage to produce one of the best albums of the year. The melodies, much like another favorite, Ty Segal, are instantly memorable reminding you of those early 70’s rock records and the writing on this album is uniformly excellent. Try ”Get What You Give,” (With its English Beat into copped from “Save It For Later”) “Another Night,” (love the horns), and “Settle Me Down.”

Another New York band, We Are Scientists, returns with their fifth album, TV En Francais, which for me, is a return to better form from past efforts that were at best uneven. i.e. a few good tracks and a few stinkers. The experimentation of the past seems to have quieted considerably and these indie rock songs are much more straightforward. There is an energy to these songs, and vocalist Keith Murray’s crooning which is similar to Paul Banks of Interpol, is an easy listen. While not a highly creative effort, there is enough energy and direction on these songs to make it drop box worthy. Try “You Make It Easy”, “Sprinkles,” and “Return the Favor.” See them on The Dressing Room Diaries.

Staying in New York, Brooklyn’s Bear Hands second full length, Distraction, is filled with precisely that – angular guitar rhythms with electronic flourishes that distract in a pleasant way the listener from bands that occupy this genre ( that is particularly popular on commercial radio). While they are often compared to Vampire Weekend, that would be a disservice. Distraction is definitely on the rockier side of the indie rock equation. Get used to having keyboards in your rock for a while. Vocalist Dylan Rau has got that pleasant indie vocals thing down ( needs a little more grit on songs like the catchy “Giants” but that is a minor gripe. Ted Feldman, he of the jangle guitar, is the star here. Good stuff. Try “Giants,” “Bad Friend,” and “Agora.”

Cult, the sixth album by Long Island punk rock superstars (who are a cult band to the main stream) Bayside covers in one album all ten years of Bayside‘s musical history by re-incorporating past sounds while reinventing the band in sonic quality. This is the bands first record for Hopeless Records, and perhaps, the ideas on this record arise from the impact of a fresh start but done without throwing out what made this band great in the past. This songs on Cult are refreshing – I say it again – refreshing. Sure the band is a working/touring machine, but the riffs are fresh and the vocals powerful – just like when Bayside was starting out more than 10 years ago. It is difficult to survive in punk rock for more than a few years as the art form is now on the fringe of rock music ( thank goodness for Alt Press magazine) but hopefully Cult will bring Bayside the attention they deserve – in the light of the mainstream, and playing much bigger venues. Try “Big Cheese,” “Something’s Wrong,” and “Time Has Come.”

From the Monkees “Last Train to Clarksville” sound-a-like beginning on “Drive By Buddy”), Atlanta’s Black Lips on their seventh album, Underneath The Rainbow, stick to what the Black Lips do best playing their variant of garage rock, but there is something different about this record – the production values are much greater but the songs still have grit. Who knows what the live show is going to look like, but this record is everything a Black Lips record should have from the blues inflected slow burner “Boys in The Wood,” to the county garage flavored “Waiting” and points in between. This is comfortable lips territory a mix of 60’s garage nuggets and 70’s pop flourishes mixed by the Lips. This is a really good Lips record and not to be missed. Try “I Don’t Wanna Go Home,” “Smiling,” and “Boys In The Wood.”

Annie Erin Clark, aka St. Vincent (former vocalist for the Polyphonic Spree) is an enigma. Four albums into a solo career, St. Vincent releases a self-titled record, and it is stunning. She is easily one of the most accomplished guitarists, but when combined with her crisp songwriting and distinctive voice, she blows away the listener. This is as unique a record which can still be described as pop as will be put out this year. Think King Crimson as a traditional pop group with an exceptional female vocalist. I love the guitar playing – no extra notes, efficient harmonics. Amazing. Try “Rattlesnake,” “Every Tear Disappears,” and “Birth In Reverse.”

I’m out of time, and will try to review the rest. So, until then here is the List:

Blackchords – A Thin Line [2013]
Papermaps – Darker Lights [2013]
Genders – Get Lost [2013]
New Killer Shoes – I Ain’t Even Plugged In [2013]
We Are Fiction – One For Sorrow [2013]
La Luz – It’s Alive [2013]
We The Kings – Somewhere Somehow [2013]
Cheap Time – Exit Smiles [2013]
Shyboy – Water on Mars [2013]
Tilbury – Northern Comfort [2013]
Augustines – Augustines [2014]
Tokyo Police Club – Forcefield [2014]
Drowners – Drowners [Explicit] [2014]
Fleshtones – Wheel Of Talent [2014]
Hatcham Social – Cutting Up the Present Leaks Out the Future [2014]
Hiss Golden Messenger – Bad Debt [Deluxe Edition] [2014]
John Butler Trio – Flesh And Blood [Deluxe Edition] [2014]
Reverend Horton Heat – Rev [2014]
Joan As Police Woman – The Classic [2014]
Shake Some Action – Catch The Sun [2014]
Striving Vines – Obstacles [2014]
Supersuckers – Get the Hell [2014]
Alpaca Sports – Sealed With A Kiss [2014]
Perfect Pussy – Say Yes To Love [2014]
NO – El Prado [2014]
Oh My! – Slow Moves [2014]
Phantogram – Voices [2014]
Plus Minus – Jumping the Tracks [2014]
Presidents of the United States of America – Kudos to You! [2014]
Water Liars – Water Liars [2014]
We Shot The Moon – The Finish Line [2014]
Wild Beasts – Present Tense [2014]
Papa vs Pretty – White Deer Park [2014]
Clap Clap Riot – Nobody – Everybody [2014]
Moss – We Both Know The Rest Is Noise [2014]
Nina Persson – Animal Heart [2014]
Rigby – Island On Mainland [2014]
Skip The Use – Little Armageddon (Deluxe Edition) [2014]
Wild Apes – Wild Apes EP [2014]
St. Vincent – St. Vincent [2014]
Real Estate – Atlas [2014]
Let’s Wrestle – Let’s Wrestle [2014]
Black Lips – Underneath the Rainbow [2014]
Bayside – Cult [2014]
Modern Baseball – You’re Gonna Miss It All [2014]
Casket Girls – True Love Kills The Fairy Tale [2014]
Bear Hands – Distraction [2014]
Peter Buck – I Am Back To Blow Your Mind Once Again [2014]
Men – Tomorrow’s Hits [2014]
We Are Scientists – TV en Francais [2014]

February 8, 2014 Dropbox Notes

Posted on March 5, 2014 by KFR

Sorry, February got away from me. I know this is being published this first week of March, but better late than never, right? So, here are the notes for the first batch of new year releases that are still in the dropbox, so if you missed them – get them quick because I have already lined up this months. I am starting with the original version of the notes – hence the date and unintentionally funny prose:

Welcome to the first batch of new releases for 2014. I had considered starting the year off with a rant regarding the Grammy’s but reconsidered as the rant would only continue to point out the obvious – the Grammy’s are an award ceremony recognizing the talents of capable marketers of major labels and corporate radio who have successfully convinced the masses, that these individuals and groups (what these individuals/groups largely produce is not art and consequently they are not artists) receiving a Grammy award are somehow representative of what is good about music. It is not. Rather, the many genres of music not represented by the Grammy awards continues to evidence two glaring symptoms of the failure of the corporate music structure to find ways to introduce artists to the masses in a manner that focuses on the music, as art, and the artist:

(a) corporate radio failing to care that there are members of the listening audience that actually are concerned about the quality and diversity of music ( KROQ – Alternative first (Ha!); and

(b) the focus on music as personality rather than music as art.

It is easy to cite examples of this disturbing trend. Miley, Justin, Kanye, Rhianna, Beyoncé, are relentlessly promoted as artists concerned about their art. Really? Does anyone truly believe that any of these individuals really care primarily about the quality of their music? Perhaps at the beginning, but the objective evidence is that there is little of the soul that made them popular in the first place left in their music. Does anyone truly believe that any of these individuals have anything meaningful to say? Sure, there is a place for mindless drivel in music. But should this be recognized as the pinnacle of the music industry? This is not to say that these artists are not capable of producing great music – it is just that they have lost the thread of where the genius lies – and in all likelihood they will never find it –ever. I am reminded that perhaps with the passage of time some Grammy performances will stand the test, but looking at this years list, I am somehow doubtful. The disproportionate number of rap/hip-hop releases that are of little essential value and a radio partner that force feeds sponsor selected music to the masses is more than payola. It is a scheme designed to deprive the main stream listener from exciting music and instead promote parodies of real persons and their twisted interpretations of conventional feelings and emotion as “normal” and popular. I hope it changes and that radio finds a way to make money from variety of new artists in a genre rather than the pummeling the listener must take as radio constantly repeats the same songs – often at the same time each day. In Los Angeles, KROQ (106.7) and 98.7 now play the same songs nearly simultaneously. My hope is that they both figure out that change is good. It doesn’t even have to be new music, just stop playing the same songs repeatedly. (As an aside – I can do with a 10 year radio ban on the Red Hot Chili Peppers).

I am sure that this rant is largely inspired by my recent listening experience. I’ve been listening to a compilation of songs entitled “1001 Songs You Must Hear Before You Die” which is full of songs from a wide variety of genres and decades. It is an interesting spin, because I’ve rediscovered the beauty and genius of some songs that I’ve not heard for a while including: Big Star – “Thirteen”, Libertines – “Can’t Stand Me Now”, Suede – “Animal Nitrate”, Lemonheads – “My Drug Buddy”, Dolly Parton – “Jolene”, The The – “Uncertain Smile”, Mott The Hoople – “All The Young Dudes”, Jimmy Cliff – “Many Rivers To Cross” etc. What sets these songs apart is the “wow” factor – something in each of these songs that reminds you of the genius it must take to create these songs. i.e. How did they come up with that?

Here’s to the “wow” and hopefully you find some of it on this month’s releases, some of which are leftovers from last year that I missed the first time around.

Surrey five-piece pop metal act, You And Me At Six, have a hit record with Cavalier Youth, their 4th, released January 28, 2014. Really, in its first week of release, the record reached No. 1 in the U.K. Now, if you’ve followed the dropbox for a while, I raved about their last record “Sinners Never Sleep” which ended up on my best of year list. This record, continues the trend with anthemic pop metal that is bouncy and will have you singing along, sometimes at the top of your lungs. As the London Observer gave this a one star rating (its worst) dismissing the album as formulaic corporate alternative rock, then why is it in the dropbox? Because I like the friendly sounding formula that has the capacity to make you want to move your feet as compared with always trying to find the deeper meaning. That is, the impact is somehow more important than the constant search for creativity. Have we learned nothing over the recorded history of rock n’ roll – consistency is greatness. Not a perfect record, but an enjoyable spin with well-crafted catchy tunes. Try ”Lived A Lie,” “Win Some, Lose Some,” and “Wild Ones.”

Ahhhh… the rare compilation hits the dropbox in the form of Killed By Deathrock Volume 1. Garage label, Sacred Bones (whose releases have often made the dropbox), delves into the fringes of early 80’s post-punk, garage, and death rock, and with a title that is intended to remind everyone that this is a reclamation project of obscurities a la the bootleg series Killed By Death, this compilation of gems is worth repeated listening. Try: ”Twisted Nerve – “When I’m Alone,” Afterimage – “Satellite Of Love,” and Taste Of Decay – “Factory.”

One of my favorite bands still mining (albeit only slightly) mod pop territory, The Rifles, return with a crowd funded pop gem in the form of their 4th album None The Wiser. In danger of being a middle of the road faceless UK band, the Rifles deserve with this record a little applause for finally figuring out who they are as a band and with the return of two members who had left before the third release, the album is replete with catchy tunes. A better sequencing would have put the standout track “Heebie Jeebies” in first position so that more listener’s would find the record, rather than the pleasant but not too interesting “Minute Mile.” The record is solid throughout and after a few listens you’ll discover some favorites. Try: “Heebie Jeebies,” “Go Lucky,” and “Under And Over.”

Hard to argue with the inclusion of groundbreaking, genre inspiring reissue of Uncle Tupelo’s debut album No Depression (recorded in Boston at Fort Apache), this month. For those who missed it the first time around (1990) or are too young to have heard this underplayed diamond, Uncle Tupelo is the culmination of the country-punk first heralded by Rank And File, K.D. Lang & the Reclines, Jason And The Scorchers, the Blasters, etc. but transcending those earlier records and layering alternative rock into the mix producing rock influenced country that is labeled alt-country genre, aka as No Depression. The tile of the album is taken from J.D. Vaughan’s “No Depression in Heaven”, a gospel track made famous in 1936 by the Carter Family. Although in my mind, a big tip of the hat for this genre should go to the Replacements, the songs on this album define the genre and after more than 20 years, still inspire: Try: “Outdone,” “I Got Drunk,” and “Before I Break.” And here is a 4th song to try: “Life Worth Livin’“.

On To Much Information, Maximo Park, like the Rifles, take a step further from their mod-influenced Brit-pop roots producing a more thoughtful synth laden atmospheric record that utilizes Paul Smith’s voice to the fullest. And this is what is immediately likeable about Maximo Park. Smith’s voice and lyrics are the focus on this record and frankly, he could sing the telephone directory and it would be an enjoyable listen. In short, Maximo Park have made the step forward from angular dance rock band to electronic rock band. Five records into their career, each record highlights the quality of Smith’s particular voice – silky smooth and full of emotion. Sure, given that Smith is essentially a crooner, and Smith’s comparisons will arise, but unlike Morrissey, Smith and Maximo Park have managed to miss the self-indulgence landmine and produce quality songs with the trademark unconventional lyrics that have characterized the band since their initial single “Apply Some Pressure from 2005. Try: “Brains Cells,” “Leave This Island,” and “I Recognize the Light.”

Released the same day as Maximo Park’s record, February 4, 2014, So Long, See You Tomorrow, the 4th album from North London’s Bombay Bicycle Club finds them in the same place as Maximo Park – experimenting and tweaking their sound and obviously not content to stay in one place. On prior albums, Bombay Bicycle Club have demonstrated their willingness to genre hop, and this record continues that process. The songs are a little sprawling, beat laden, and an eclectic blend of electronica and indie rock, pulsing rhythms and layered vocals producing overall a very vibrant and uplifting record – uniquely Bombay Bicycle Club. Try: “Luna,” “Overdone,” and “Carry Me.”

Now that the critical blasting of Broken Bells second record After The Disco has died down following its release in late January, now is a good time to examine the second record from the “group” consisting of the Shin’s front man James Mercer and producer extraordinaire Danger Mouse (Brian Burton). As the title suggests, the record evokes the moment after arriving home from the club after a night out and the intense need to decompress. After The Disco is a much more cohesive record than 2010’s Broken Bells which sounded like the product of a weekend of experimentation. Here, three years later, we get a record produced by people who have had an opportunity to take those results, process them, and produce an eclectic record which touches 70’s light disco, and experiments with Mercer’s range and tonality with good effect. Title Track “After The Disco” is typical of the 70’s mood on this record and you could picture “Holding On For Life” ending up on the Saturday Night Fever Soundtrack. I swear that’s the Bee Gees on the track. All that said, there is enough enjoyable moments on the record to make it dropbox worthy. Try: ”Holding On For Life,” “No Matter What You’re Told,” and “Control.”

Minnesotan post-punk trio BNLX (Ed Ackerson, Ashley Ackerson, and David Jarnstrom) are an awesome band with absolutely no west coast presence. And that is sad. Much like Kevin Love who is a superstar in Minnesota but with only minimal recognition in Los Angeles where he played 1 year for UCLA before heading to the NBA, BNLX are also in need of a trade (to Los Angeles) in order to gain recognition for their particular brand of punk rock. Catchy and melodic punk rock in the vein of the legendary Wire with some shoegaze aspects, this collection hits the sweet spot. BNLX may be the biggest force in local music in Minneapolis organizing a successful BNLXFest, and a successful marketing program resulting in all of their vinyl releases, from which these tracks are drawn, selling out. Produit Collecté is an assemblage of tracks from BNLX EP’s 1-8. The tracks on the fourteen song vinyl LP Produit Collecté “are representative sampling of musical highlights and odds-and-ends from all eight BNLX EP releases. And that is what makes this collection so varied and interesting – this collection offers a glimpse into the bands influences: New Order (“Blue and Gold”), Wire/Elastica (“Opposites Attract”), and an amazing cover of Black Flag’s “Rise Above.” Try: “Rise Above,” “Opposites Attract,” and “Where Is the Love.”

Against Me are an enigma. On Transgender Dysphoria Blues the band finds themselves at a crossroads on their 6th record. What do you get when you attempt to cross what was a very political punk rock band with a lead singer who is still dealing with the fallout from a very homophobic contingent of the punk rock community as a consequence of her announcing she is transgender (Laura Jane Grace aka Tom Gabel)? Well, this album is the answer for now – a band still aware of its presence as anarcho punks and fiercely engaged in the discussion of its ideology. That ideology is now filtered through the emotions of its lead singer whom, as far as I can tell, has not changed her focus. Rather, it appears her focus is created through adversity – as the backlash and rejections of the past several years (labeled sell-outs after jumping from FAT WRECK to a major label, Butch Vig smoothing out the rawness of the earlier releases in order to make them radio friendly unit shifters, and the announcement that Tom identified with being a female) have influenced the writing of the songs comprising this record. Sure there is palpable anger, but there is something else going on as the record attempts to reconcile these songs into a cohesive work – a cathartic acceptance of Against Me and Laura’s place in the punk rock world. As a work of art, Transgender Dysphoria Blues represents Against Me as both a force for change, and a marker for further explorations as the band moves from the dark to the light, recognizing that the past is that – the past. The closer, “Black Me Out” is a bitter statement – “I want to piss on the walls of your house” – that encapsulates the place where Laura has been but also signals an effort to move forward. At times this is a difficult listen as I would think that new listeners will have difficulty connecting with some of the material, but as a chance of pace there is enough on the record to make this compelling listening. Try: “Dead Friend,” “”Black Me Out,” Transgender Dysphoria Blues.”

Beck, on his twelfth record Morning Phase, finds himself in a reflective place building on the melodies and feel of what he calls the companion record to 2002’s Sea Change. However, these records are dissimilar with their starting places. On Sea Change, Beck was dealing with the end of a longtime relationship with his girlfriend, whereas on Morning Phase Beck is a married father of two and from that place it is undeniable that the songs on Morning Phase are much more even, less tumultuous, than his past work, and undeniably full and rich with life. This is the sound of contentment. And some will say it is boring. I didn’t get this record on first listen, but taking the time to experience the record rather than merely listen, it is very deceptive – the arrangements are perfect, the little highlights, layered vocals, the strings, and Beck’s surprising vocal tone, set this record apart from his own catalog which has often taken trips to the bizarre and disorienting. The conventional acoustic flourishes somehow are captivating in Beck’s hands. This is overall a mellow late evening record beautiful and moving. Try: “Morning,” “Unforgiven,” and “Blackbird Chain.”

Great name – Dee Dee Penny. Vocalist and primary songwriter for Sub Pop recording artist Dum Dum Girls, Dee Dee on the Dum Dum Girls, third record neatly balances the 60’s garage rock they are known for with the angular and muscular New York inspired angular rock that was the rage with the Strokes, Interpol, etc. Less Lo-fi and less fuzz than on their previous outing, Too True, is perfect. The result is a captivating amalgam – muscular garage rock with interesting sing-a-long melodies with 80’s reference most notably Blondie (“In The Wake Of You”) and the Ramones. This is thirty minutes of fun that bears repeated listening. Try: “Rimbaud Eyes,” “Too True to Be Good,” and “Trouble Is My Name.”

Rags is a fan club only release by the Hold Steady in advance of the bands next record, their 6th , entitled Teeth Dreams out March 25. This EP, a crowd funded (Pledge music) release of cover songs recorded to assist the K + L Guardian Foundation to benefit the children of fan, writer, and event booker “Jersey Mike” Van Jura, who died in November 2012. The EP has one song selected by each of the 5 band members as follows: (1) “All Through The City” (Dr. Feelgood) (2) “Closer To The Stars” (Soul Asylum) (3) “Hard Luck Woman” (Kiss) (4) “I Gotta Get Drunk” (Willie Nelson) (5) “The Last Thing I Ever Wanted Was To Show Up And Blow Your Mind” (Those Bastard Souls). Try: them all.

Los Angeles’ Warpaint self-titled second LP is a bit of a throwback. Perhaps it is the presence of Radiohead producer Nigel Godrich and Flood who share production duties on this record. Perhaps it is the ethereal dream like vocals of singer Emily Kokal whose vocal presence along with Theresa Wayman float throughout the hazy post-punk synthesizer and guitar dreamscapes created by the very capable band. There are hints of other bands throughout the record but these influences don’t mar the beauty of some of these sonic outings. Perhaps it is the attraction of another all-female band (compare with Savages) that has England excited (the band recently accepted an offer to play Glastonbury), but there is something interesting about this project, if the overall effect is muted. For me, some of the songs are a little too long, but that may be simply the presence of Godrich, as these songs get a lengthy workout. Try: “Love Is To Die”, “Feeling Right,” and “Keep It Healthy.”

From the things I missed in 2013 list, Long Island New York’s indie rockers Republic Of Wolves, had two self-releases in 2013, the Empty Vessels EP and their second studio album No Matter How Narrow, and both should not have been missed. However, I did, and hopefully their omission previously will not detract from their listening pleasure that these releases brought me, as I re-discovered the band and actually went back and found the debut, 2010’s Varuna. Empty Vessels is an acoustic EP highlighting the bands crazily catchy songwriting and simple melodies. Highlights here are the opener “Spare Key” and the alternate version of “Strays” both of which appear on No Matter How Narrow.

No Matter How Narrow is brilliant, with the vocals of Mason Maggio carrying the emotional songs without falling into emo-rock trap. This is the danger of a record released in late December (December 16) – great records are often overlooked. This is a great record throughout. Try: “Keep Clean,” “Spare Key,” and “Pioneers.”

In case you are keeping track of things, there are times when WordPress ( at least the free version) does funky things I can’t even begin to want to spend the time to fix. So, I’m writing this here to hopefully correct a formatting error that is created when you drop two photos together. Okay, back to the program:

Another acoustic affair is Transit’s Future And Sutures EP which revisit their past catalog and adds one brand new track. For the Boston punk rockers the record revisits tracks from their previous two albums, Listen & Forgive and Young New England (both of which previously appeared in the dropbox). The acoustic presentation works, particularly for songs like “Long Lost Friends” which explores the underpinnings of a classic rock song carried by singer Joe Boynton’s distinctive vocals. These are not re-imagining’s of the songs, but rather creative rearrangements of some of the band’s finest songs. Feel free to shout along. Try” “Long Lost Friends,” “Listen & Forgive,” and “Over Your Head.”

Scottish alt-rockers The View have compiled their greatest hits into a career spanning imaginary setlist in the form of Seven Year Set List. Hard to argue with the inclusion of every song on this list and it is highlighted by the fact that for a band that is unrecognizable in the United States (and I mean that in all seriousness) it is a tragedy that the radio never found a band as good as this. I dare you to listen to “The Clock” and not question why the gods of radio ignore good songwriting. Alternative first – my ass KROQ. The View know their strengths and for a band that is largely supplanted in the U.S. by the Mumfords, these songs stick in your head, and in several cases I found myself affecting a Scottish accent. The bands last album, 2012’s Cheeky For A Reason, ended up in the top 10 of my year end best of list, and their previous albums are Top 10 albums in England and Scotland (Hats Off To The Buskers was a #1 record). So, what is wrong with U.S. radio? Apparently lots. Much to discover here, so try: “The Clock,” “Wasted Little DJ’s,” and “How Long.”

Second records are tough when the first record produces a hit. Comparisons are inevitable. So, I’m going to try to ignore the fact that Irvine, California’s Young The Giant’s first record was overplayed by local radio ( “My $#^&% Body”) and try to examine album two Mind Over Matter on its own merits. Mind over Matter’s strengths come primarily in the form of an explicit understanding of melody – the guitars shimmer brightly and the vocals of Sameer Gadhia take the songs to unexpected places, particularly on “Eros” and it is these elements that keep the album from being bland. The U2 influenced “It’s About Time” is a standout and as radio has already figured out, worth a play a time or two or 100. But, I digress. The album is filled with sonic experiments disguised as pop gems and while it may be a little overtly commercial, still worthy of its inclusion in this month’s dropbox. Try: “Daydreamer,” “It’s About Time,” and “Eros.”

Canadian chamber popsters Hidden Cameras return this month with their 6th album, and first since 2009 in the form of Age. The ever-changing lineup continues to evolve with Joel Gibb moving scenery to Berlin, this album features the distinctive guest vocals of Mary Margret O’Hara whose interplay with Gibb highlights the intricacy of this sound. With “Bread for Brat” featuring an opening riff reminiscent of the opening of Goddo’s hit “So Walk On” (On AnacanaPanacana (Start at 2:37), it momentarily prevented me from listening to the rest of the record as I replayed this track at least a dozen times before moving on. The rest of the album is just as good, as Gibb’s distinctive baritone sounding somewhat like Ian Curtis, particularly on the excellent “Year of the Spawn.”. A great chamber pop record. Could be a year-end contender and its only February. Try: “Bread For Brat,” Year Of The Spawn,” and “Gay Goth Scene.”

Perhaps we are at a point in the evolution of Stephen Malkmus, where we can review a record without a reference to his old band – Pavement. With the Jicks, Malkmus, continues to evolve as an artist and songwriter, offering on Wig Out at Jagbags, observations from left field, mostly self-reflective as compared with self-absorbed, and focused on aging and the relationships impacted by the passage of time. Unlike many of the albums in the dropbox, the lyrics on Malkmus’ records take a center stage with the songs built to fit a particular mood. On Wig Out at Jagbacks, there is a definite 70’s a.m. radio feel to some of these songs, but the hooks are infectious disguising some darker subject matter. (See “Lariat”). Like most of Malkmus’ solo work, not everything works, but also like similar bands surviving the fallout of 90’s indie rock stardom ( I’m thinking the Lemonheads as well), there is enough going on to make the entire experience enjoyable. Whether it is from country shuffle, to mock punk rock, the music provides supporting emotion to the lyrics and that my friends is part of the adventure. Try ”Lariat,” “Independence Street,” “Rumble at the Rainbo.”

Well here is a first from the dropbox – Taymir, a band from The Hague, Netherlands, produces a killer debut record that reminds me of the much loved Hoodoo Gurus from Australia. This is a melodic rock record with big songs and terrific riffs that warrant repeated, I repeat – repeated listening. For those of you afraid of bands from foreign countries because they don’t sing in English, no worries here because the band is fluent in rock and roll. Singer Bas Prins has the pipes to make him the vocalist for Jet, with all of the swagger, and such a clear tone, and with the up tempo 60’s rock feel to this record (check out last track “Jenny”) this is a solid record from track one forward. I particularly like the “girl” songs on the record “Melanie”, Jenny” and “Taymir.” Catchy alternative pop. Have a good time! Try: “Aaaaah,” “Taymir,” and “All of the Time.”

The Notwist achieved brilliance on 2002’s Neon Golden and following that record nearly dropped off the map, resurfacing in 2008 with The Devil You & Me, which marked a left turn for the band both musically and sonically. For those who were expecting a repeat of Neon Golden were thrown a sharp curve with The Devil You & Me, and that curve is continuing to break on Close To The Glass. ( I like sports analogies – also see the Kevin Love example previously). For those of you who actually know me, this album is also a dramatic curve and not normally within the range of my typical sweet spot – melodic punk. This is an electro gem and I was surprised one day when I heard by accident the song “Kong” which had come up randomly in my iTunes playlist. Perhaps it was singer Markus Acher’s approach to the song, but the slightly buried vocal in the sprightly electro-pop was enough to seek out the album. There are a few oddball songs that feel out of place (the acoustic “Casino” for one), but maybe it is the palate cleaner, because its followed by another disconnected, discordant track “From One Wrong Place To Another” and then by the amazing “Seven Hour Drive.” While uneven overall, there is enough to recommend. Try: “Kong,” “Seven Hour Drive,” and “Run Run Run.”

Guster has produced one of the best live albums I can think of in a while, and they actually gave it away for free. Live With The Redacted Symphony puts new energy into songs spanning the bands career which began in 1993 and over 6 albums has produced remarkably consistent songwriting and music. Guster has toured with several symphony orchestras and these tracks are apparently some of their favorite performances. Opener “Satellite” is stunning and from there forward the album is a collection of brilliant performances of fan favorites. For me, these orchestral versions highlight the genius of the originals – so after you’ve digested these, seek out the albums from which they were birthed. You won’t be disappointed. Try “Satellite,” “This Is How It Feels To Have A Broken Heart,” and “Demons.”

Melbourne’s RazorCut captures Australia’s fascination with Oi! and streetpunk updating the primitive sound in the very decent offering in the form of Gone or Those Days – a 10” EP released on Rebellion Records. Nothing new in this genre, but the EP is a good time workout and for those who appreciate this type of music, something to add to the playlist of modern bands recapturing the spirit and energy of the original Oi! records such as the 4 Skins and Cock Sparrer, but the female backing vocals are a twist. Try: “Saving Grace,” “Marching On,” and “No Loyalty.”

PINS debut Girls Like Us, is worthy of the critical attention, but probably not for the reasons the band would hope. Because the record is going to be compared with a number of bands from way back (primarily Siouxsie and the Banshees and The Creatures) because of the Throbbing Gristle bass line and singer Faith Holgate’s sincere Siouxsie/Karen O vocal styling, it would be easy to dismiss this as another copyist/clone band. As this month’s dropbox demonstrates, there is nothing wrong or incorrect with a good copycat. While it may be helpful to have the predecessor bands as musical touchstones, the truth in application is that PINS has captured the best of Manchester’s history from its Zoo and Factory Records beginnings, from Echo & The Bunnymen though Joy Division with pit stops along the post-punk way. The most compelling part of Girls Like Us is that the sound is overwhelmingly hypnotic and at high levels causes dizziness. Hell,“Get With Me” flirts with the Go Go’s “We’ve Got The Beat.” In short, a twisted hypnotic journey through everything great about Manchester’s history with just enough of a difference to make it all – memorable. Try: “Lost Lost Lost,” “Girls Like Us,” and “Play With Fire.”

Debut LP from Irish noise pop band September Girls collects four singles from previous EPs and thus you could predict that Cursing the Sea will be a hit in countries other than the United States – which as we have already noted, is a %$#%@% island isolated from the rest of the musical planet. No mind, because you get a chance to hear Cursing The Sea and let the September Girls subversively influence your close and trusted friends and associates who enjoy listening to things that are not on the radio and believe that there are great new artists and music being created that are perfectly enjoyable without the radio promotion and marketing. As a consequence the cult of personality does not influence the sonic results. Such is the case with September Girls. This is a reverb heavy garage-y type noise pop that doesn’t tread new ground; has no No.1 hit single present on the record, and is girl group intense with the fuzzy lo-fi production thoroughly enjoyable. Try: “Left Behind,” “Daylight,” and “Someone New.”

Want to know the power of the Voice television show? Well on A Great Big World’s new release Is There Anybody Out There (which by the by was in the dropbox before the Voice show) there is a track called “Say Something” that is suddenly ubiquitous after the duet with Christina Aquilera. Can you say massively big. Essentially a bedroom project composed by duo Ian Axel and Chad Vaccarino, and consequently is being killed by the critics. And I mean absolutely killed for Axel’s grating vocals (sure – they are a little grating), overwrought piano stylings ( a clumsy Bill Joel), and as the New York Times critic wrote a “painfully executed” release marked by dullness and clumsiness. “Mr. Axel especially has a grating voice with no color, almost digital in its simplicity.” So, why is it in the dropbox, you might wonder? Because we don’t need no stinking critics. The record, is what it was intended to be – a debut record consisting of a number of songs written at different times, highlighting an interest in pop music. I do like the critic who called it nerd pop – an apt description for this particular genre. I’m a sucker for piano (Ben Folds Five) and it is the moments on this record that work and that is why it made the dropbox. Sure, there is some very weak songs lyrically on the record ( “Everyone is Gay” comes to mind) but this is more than made up by songs like “Rockstar” which are like a fun record – happy and well crafted. What’s wrong with Broadway show tunes? So for what’s its worth the NYT critic is just plain wrong. Try” Rockstar,” “Say Something,” and the clumsy Billy Joel like song “I Really Want It.”

Another Los Angeles band seeking its fortunes overseas, Bad Things, prior to the release of its debut were only known as the band in which snowboarder Shawn White plays guitar. Apparently, that was enough to get the band some notice, and on this debut, White’s playing is workmanlike, because the real star is former Billy Boy on Poison singer David LeDuk, who turns in an excellent performance on this straight forward alt-rock record. The sound is kind of what you would expect – part Killers, part Augustana (former bass player Jared Palomar is part of Bad Things), with some angular guitar and throbbing bass, big choruses – everything radio ready. There is just enough in LeDuk’s voice to prevent the band from becoming another group of faceless white guys, but its going to take a little luck. Try this trio of catchiness: “”Saturday Night, ”“Anybody,” and “Lonely Eyes.”

Nashville’s Moon Taxi is kind of in my indie sweet spot right now. Having recorded this EP in New York the day before their excellent third album Mountains Beaches Cities was released last year, I had neglected to drop this in the box. So, here you have it. This is a solid performance highlighting the bands distinctive songwriting and musicianship with stripped down versions of songs on Mountains Beaches Cities. There is a Kings Of Leon flavor on these songs, possible because of the country rock feel to some of these tracks – but this is not country. Intricate songs with excellent vocals by Trevor Terndrup feature on this outing, but Moon Taxi is more than just a one man band. Try: “The New Black,” “River Water,” and “Running Wild.”

I love the supergroups. And The Crunch is not your typical supergroup by a long shot. Featuring former Clash member Terry Chimes alias Tory Crimes, Dave Tregunna (Sham 69, Lords Of The New Church), Mick Geggus (Cockney Rejects), and vocalist Sören “Sulo” Karlsson (The Diamond Dogs) these lesser members of other bands have actually produced a well written punk rock record fully of catchy choruses, tight playing and in short – a great listening time. It’s easy to poo poo these types of records as they filter through the sonic sphere, often dismissed and easily forgotten, but this record avoids the problems with other punk rock supergroup records. The players in The Crunch get it – they are done with trying to be something from their past – they have brought spirit and life to these songs as a group. They are busy making noise and it sounds like fun. This is straight forward punk rock in the vein of later Stiff Little Fingers, which would go down live very well. I’d pay for the ticket. Try” Fire Again,” “Busy Making Noise,” and Right About Now!”

An unreleased radio show from Jellyfish whom have previously graced the dropbox following the reissues by Omnivore records last year. So, I had neglected to put this one in the dropbox. I was a fool. This ten-track compilation of radio broadcasts recorded two decades ago, showcases the strength of the band immediately prior to the release of the bands second LP, Spilt Milk in 1993. Recorded in two locations – the Netherlands and Australia, the acoustic setting, which was novel at the time, showcases the Beatles flavored power pop of what turned out, in hindsight, to be the band’s greatest hits. Try the stunning version of “The Man I Used to Be,”, “The King Is Half Undressed,” and “The Ghost at Number One.”

Hard To argue with the inclusion of Imperial State Electric release Reptile Brain Music which I neglected to include last year in the dropbox. I’d already pegged them as one of my favorite bands previously, but as I was extremely busy, I goofed and just plain missed the record although I had played it easily 50 times since first grabbing it. Why is it good? Because it picks up where the Hellacopters left off – straight forward very loud melodic rock all carefully crafted into a fun record. In many ways Imperial State Electric is an anachronism featuring all of the elements of early Kiss and Thin Lizzy amped up on musical steroids – and as you know, all good things in music for me can trace back to Kiss (except the makeup). Thanks Mom! Try: “Underwhelmed,” “Stay the Night,” and “Eyes.”

Merge recording artists, Hospitality new record entitled Trouble is a quietly loud record. That is, the Brooklyn three piece have on this second album altered their approach slightly away from the bouncy pop rock of the debut, expanding their palate to allow the songs some ah… breathing room. This is particularly true on the beautiful single “Rockets and Jets” with vocalist Amber Pampini’s delicate vocals floating through the synthesizer and bright guitar’s. The ballads work best on Trouble. Some great moments and great tunes with some restrained guitar playing that would come off great played live. Imagine a dark lounge with a small stage and this trio playing beautiful head turning music as you relax on your barstool. Try: “Rockets and Jets,” “It’s Not Serious,” and the delicate acoustic number “Sunship.”

Hailing from St. Louis, Pretty Little Empire’s self-titled third album, highlights a band ready to break out of their hometown and in a most deserving manner find a much broader audience. This band is also in my sweet spot – indie pop with a touch of alt-county sheen. This, like the Hospitality record, Pretty Little Empire is delicate as most of the songs are slow, but unlike Hospitality, there is a grittiness to the singing and playing that captures you from the first track – the intricate guitar work of William Godfred over the throbbing bass and then vocalist Justin Johnson’s whiskey touched vocals. Well worth a mention as there is no way any of this would end up on any commercial rock station or even a college indie station because there is no way Pretty Little Empire will achieve any street credibility. This is a working person’s record – for those who still go out Friday night for a good time. Perhaps Pretty Little Empire could be my favorite bar band. Try: “The Way You Say It,” “Talking Loud,” and the lo-fi recording of “Nest.”

Another victim of being a December release, States’ second album Paradigm is also a thing of beauty. The band is a blend of former Lydia vocalist Mindy White and several members from indie rockers Copeland: Jonathan Bucklew, Stephen Laurenson, Brian Laurenson, and Dean Lorenz. States retains all of the dream pop charm from the first record, but have mixed things up by varying the tempos throughout the record, adding some interesting elements, i.e some fuzz, both of which makes for a very interesting and cohesive record sounding like – States. That is, Mindy White’s voice is a throwback to the 60’s girls groups and captivating, particularly on tracks like “All In My Head.” Great indie record arrives all sunny in December: Try “All In My Head,” “The Night,” and “I Hope You Stay Gone.”

For those of you not old enough to remember XTC – the U.S. one hit wonders only known here for the track “Dear God,” – then you missed a band full of brilliant songwriters and experimenters willing to take huge risks and one of the best bands in the form of their alter ego band the 60’s psychedelic gurus The Dukes Of Stratosphere. So, what does that have to do with U.K. rockers, Temple’s debut album, Sun Structures? A great deal it turns out. Temples make no bones about their efforts to incorporate all of the best of 60’s psychedelia into a crate digging marathon as you try to figure out the influences. Sure, this could come off as a little pretentious, as the sound on this record is like the Dukes of Stratosphere record thirty years earlier – note perfect. There are elements of new psychedelia present and the tempos are definitely more modern, but for me, it has the correct blend of T. Rex, 13 Floor Elevators (particularly on the title track ”Sun Structures”), the Electric Prunes, and the Byrds – a nice amalgam of the sounds of an era, updated for today’s listeners. I’d love to see this show live. Try “Sun Structures,” “Mesmerise,” and “Test of Time.”

With a different take on new psychedelia, British psych-rockers Toy’s second album Join The Dots, is more focused album than the previous release but still mixes the Stone Roses informed shoe-gaze dream pop with experimental flourishes that transcend the typical psychedelic records that are becoming more prominent given the recent success of Tame Impala. On Join the Dots, the lyrics are still a little clumsy but musically the song structures are energized. The songs, overall, still fit the conventional structure – the guitars are the centerpiece. They announce their presence to great effect by building tension and then suddenly releasing that tension is an explosion of sound. Be forewarned, the tracks are lengthy as the band prefers not to edit but rather – flow. Opening “conductor” is a lengthy instrumental that fits nicely as an introduction exposing the listener to the overall feel of the record, and the closing track “Fall Out of Love” puts the finishing touches on an exciting experience. Try” Fall Out of Love,” “You Won’t Be The Same,” and “Left To Wander.”

Shropshire, UK-based rock band Fight the Bear (I know – where the #$&^$^ is Shropshire?) on Thirty Eight Degrees, have perfected the sound present on their two fine earlier releases Dead Sea Fruit (2009) and Gutter Love (2006). Thirty Eight Degrees is a mix of Pastel’s pop and Del Amitri guitar that bounces along, particular on the single “It Gets Better” with its catchy sing-a=long chorus. The album works on several levels, and is a pleasant listening experience throughout. I think if there is a flaw is that there are no massive moments that would turn it from an above average listen to an excellent one. However, a minor flaw. Try” “Fall Apart,” “It Gets Better” and “Thirty Eight Degrees.”

I love the jangle. Jangle pop is that sound produced by R.E.M. in its early days and made famous by a host of bands including Let’s Active, Don Dixon, Guadalcanal Diary, dBs, and Game Theory in the early to mid-1980s has arisen in the form of Helsinki Finland’s Delay Trees on their exceptional record Readymade. Three albums in, the band still plays the sedate version of jangle pop like they invented the genre. For me, it almost makes me want to wax nostalgic. Killer track “Fireworks” with its chorus “It’s Not Enough” and the dramatic chord change at the end hits the sugar meter hard. Absolutely I am blown away by this record. Try” Perfect Heartache,” “Fireworks,” and “Sister.”

Rollergirls has flirted previously with a couple of styles – post punk and screamo come to mind, but on Satisfied With Less, I think they have found the balance – producing a noise punk record that it interesting and stands on its own merit without the weight of its past creating an uncomfortable burden in the present. For most of those reading the review Rollergirls will be a new band and a new opportunity to discover a band without knowing what the previous albums actually sounded like. The production on Satisfied With Less is an improvement at least in the mix as the guitars are crisper and the jazzy elements resonate much like later Husker Du/ Minutemen records. Hell, Rollergirls is from Darnstadt, Germany – a city in the Bundesland (federal state) of Hesse in Germany, located in the southern part of the Rhine-Main-Area (Frankfurt Metropolitan Region). So there, now you know. Try “Satisfied with Less,” “Everything Will Work Out,” and “Bastard.”

Dave Elkin’s the former lead singer of Mae, after leading that band for more than a decade has emerged after relocating to Nashville as Schematic. On his debut Color (n.) Inside The Lines, Elkins, working in collaboration with some friends – Jeremy Lutito (Leagues), Chase Lawrence (Coin), and Eleanor Denig, has produced a very fine indie rock album which displays some of his prior bands expression, but mixes it up with some synths and bleeps as well as the piano that was present in Mae. All of these new elements don’t detract from the overall quality of the record. Sure, it is not a Mae project, but if you liked that band, then this is not a great leap forward. Quality songwriting can’t be denied. Still has a tendency to be indie prog rockish (autocorrect had this word as rockfish) at times, but the vibe is great. Elkin’s is still moving forward…and I like it. Try: “Stand,” “All-Time Quarterback,” and “I Am The Car.”

If a band want’s to move in a new direction, and fresh start the project, then of course – you change your name. Debut album by Self Defense Family is really the band’s fourth – having previously recorded under the End Of A Year moniker. So, staying true to their post-punk roots, Self Defense Family has tried to expand the definition of art-punk by including an approximately 40-minute-long interview with the 1980s pornographic actress Angelique Bernstein (known by industry name, Jeanna Fine), split between two tracks titled “Angelique, Pt. 1” and “Angelique, Pt. 2”. According to Wikkipedia (and confirmed by me as I listened to the compelling interview of the very smoky voiced Angelique): The interview was conducted by Self Defense Family vocalist Patrick Kindlon and guitarist Andrew Duggan in a motel in New York, and the original recording is over three hours long. The portion of the interview that appears on Try Me tells Bernstein’s early life, including as Lukas Hodge of Noisey puts it, her “fatherless, bullied, sexually confused childhood, to living on couches and in doorways, to an abusive relationship, told in disturbing detail, in which she essentially becomes a prisoner,” but ends before she can get into her porn career. About the interview Kindlon said, “She’s just an interesting person. She has an amazing personal history and you don’t need an interest in pornography to find her story compelling. You just need an interest in human beings.”

And so it is here. You may not be familiar with Self-Defense Family’s genre of music which tends to the darker side of post-punk, but it is compelling. There are some recognizable Pere Ubu/ Fugazi elements and “Nail House Music” is an amazing track – loud, angry and dark. Great stuff! Definitely not a KROQ record. Be forewarned some NSFW lyrics – almost all highly effective. Some of the tracks are a little long (such as the beginning of “Dingo Fence” with a mindless studio rant that it much better when we get to the actual song at 1:51) Try: “Nail House Music,” “Fear Of Poverty In Old Age,” and “Mistress Appears At A Funeral.”

Another band with a new direction and new start is Boston’s Girlfriends who have kicked around town for a couple of years, briefly added a new member who abruptly left, and now have a new name…The Bent Shapes on their debut Feels Weird mine the pop-garage vein lie early Modern Lovers (but without Jonathan’s distinctive voice) but perhaps its just the guitar work. Not quite ready for the big leagues, not a hipster favorite, but definitely an enjoyable sound in particular on tracks like “Panel of Experts” where the flavor of Material Issue shines through the track. Just the right amount of fuzz on the album keep it all very interesting, and these guys have mastered the three minute or less song. Try: “Panel Of Experts,” “Brat Poison” (which has a pop Dead Kennedys feel – when you listen to it you’ll hear the resemblance to “I Am The Owl”), and “What Do You Get??”

Based in London, Cheatahs self-titled debut has everything the UK press would love – hints of the Stone Roses, and a complete submergence in the 90’s shoe gaze scene with the U.S. equivalent of distortion laden guitar noodling’s a la Dinosaur Jr.; Irish equivalents like My Bloody Valentine; and a number of U.K. period bands such as early Catherine Wheel and Ride. Some hate it when bands mine old territory as not being terrifically original or authentic. Who cares? Really, as I am so tired of everything that radio plays now, something loud, noisey, fuzzy, kind of feels right. Also, has one Canadian from Edmonton! Try: “Get Tight,” “Cut The Grass,” and “The Swan.”

The Growlers are prolific. Not Psych!, released in October of last year, was an advance blast before the release of the excellent Hung At Heart LP and was the second EP of 2013 for the California surf poppers. Not Psych! highlights the rockabilly/ garage roots rock of a band with a Doors fetish. Try: “Hiding Under Covers,” Humdrum Blues,” and “Nobody Owns You.”

Time for a little break in the action. At this point, I’m getting a little tired, but we are almost at the end. So, onward and downward:

Milwaukee’s Like Like The The The Death on their second album Cave Jenny pack a ton of interesting stuff into each noise rock track on this amazingly diverse record. Hard to miss when the opening track “Here Comes the Irregular” is a play on the Replacements awesome hit “Here Comes A Regular.” It’s loud, raunchy, ridiculously catchy punk rock that ends far to quickly at only 30 minutes of energy. That’s the secret to a great record in this genre. Short, sharp, and every song should feel like the band’s last and, in LLTTTD’s case, they have achieved greatness. Play really loud – it will cause your dad to yell “turn that #@%$% off!” Awesome. Try” Here Comes The Irregular,” “Cry Tag,” and “Hypnic Jerk.”

Chico California and Tooth & Nail recording artists, Number One Gun have been kicking around for a while and after a four year hiatus are back with a crowd funded release in the form of This Is All We Know a straightforward melodic rock record that actually works pretty well. Perhaps it’s the return of the original members of the group who left lead singer Jeff Schneeweis two record the last two records using the Number One Gun name. All I know is that there is an energy to the songs on this record that transcend the emo laden lyrics. Definitely accessible, although even I admit that there could be a few more tempo changes as there is a sameness creep to the album. For me, I listened to this on shuffle with the rest of the stuff on my iPad and when I hit upon a track from this record, I would always look to see who it was. ‘Nuff said. Try” Heartbeats,” “Get A Little Weird,” and “Disappear.”

Another fairly local act, Ventura California’s Spires, arrive with another offering of California sun drenched jangle pop containing Byrdsian riffage and remind me of the much loved Game Theory in a number of ways. Having released a number of fine albums over the past decade or so, the Spires are remarkably consistent. So, if you are a jangle pop aficionado, look no further than Eternal Yeah. Try: “Rats Win The Last War,” “Everyone Went Home,” and the lengthy “Cracked Mirror State.”

Richmond Virginia’s Sundials have compiled a collection of 7” records and unreleased songs that trace their evolution from a conventional pop-punk Weezer inspired band through their Alkaline Trio hero worship phase (given a not to subtle nod by the album cover art which replaces the cassette tape of the original with a CD also now an anachronism) and beyond in what is a great introduction to the band and their brand of catchy three minute pop-punk. Varied sound quality, but excusable given the obvious talent of the band. Try: “Always Whatever,” “Mosby Street,” and “Shelter Girl.”

And last but certainly not least this month – City Lights, hailing from Columbus Ohio finally released their latest version of punk rock in December after nearly a three year wait. And, to me, the album is a complete success. True punk rock in the mainstream is much like the rhino ( I was going to say slowly going the way of the buffalo, but they are on the rebound). Tragically, pop punk as a genre is dying off as bands compromise their intensity for nonexistent radio play and perhaps a slot on the warped tour. This, to me, squeezes the life out of this narrow niche of bands as they must either conform to the want of the money holders or suffer the inevitable breakup. Why, you think is this relevant? Because on The Way Things Should Be, City Lights offers a collection of songs exactly the way things should be – fast, loud, and catchy and without compromise. This is straight forward pop punk. Like it or leave it. Try: “See You at the Top,” “Leaving Here,” and Idols.

I’ll be back at you shortly – I promise!

Here is the list:

You Me At Six – Cavalier Youth (Deluxe Edition)(2014)
VA – Killed by Deathrock Vol. 1 [2014]
Rifles – None The Wiser [2014]
Uncle Tupelo – No Depression (Legacy Edition) [2CD] [2014]
Maxïmo Park – Too Much Information [Deluxe Edition] [2014]
Bombay Bicycle Club – So Long, See You Tomorrow [2014]
Broken Bells – After The Disco [2014]
BNLX – Produit Colllect (Collected Product) [2013]
Against Me! – Transgender Dysphoria Blues [2014]
Beck – Morning Phase [2014]
Dum Dum Girls – Too True [2014]
Hold Steady – Rags [2014]
Republic Of Wolves – Empty Vessels [2013]
Republic Of Wolves – No Matter How Narrow [2013]
Transit – Futures And Sutures [2013]
Warpaint – Warpaint [2014]
View – Seven Year Setlist [2013]
Young The Giant – Mind Over Matter [2014]
Taymir – Phophene [2013]
Stephen Malkmus & The Jicks – Wig Out at Jagbags [2014]
Notwist – Close to the Glass [2014]
Guster – Live With The Redacted Symphony [2013]
Hidden Cameras – Age [2014]
Razorcut – Gone Are Those Days [2013]
PINS – Girls Like Us [2013]
September Girls – Cursing the Sea [2014]
A Great Big World – Is There Anybody Out There [2014]
Bad Things – Bad Things (Deluxe Edition) [2014]
Moon Taxi – Acoustic on West 56th EP [2013]
Crunch – Busy Making Noise [2013]
Jellyfish – Radio Jellyfish Live Radio Broadcasts 1993 [2013]
Imperial State Electric – Reptile Brain Music [2013]
Hospitality – Trouble [2014]
Pretty Little Empire – Pretty Little Empire [2013]
States – Paradigm [2013]
Temples – Sun Structures [2014]
Toy – Join The Dots [2013]
Fight The Bear – 38 Degrees [2013]
Delay Trees – Readymade [2014]
Rollergirls – Satisfied With Less [2013]
Schematic – Color (n.) Inside The Lines [2013]
Self Defense Family – Try Me [2014]
Bent Shapes – Feels Weird [2013]
Cheatahs – Cheatahs [2014]
Growlers – Not. Psych! [2013]
Like Like The The The Death – Cave Jenny [2013]
Number One Gun – This Is All We Know [2014]
Spires – Eternal Yeah [2013]
Sundials – Always Whatever [A Collection of Songs from 2009-2012] [2013]
City Lights – The Way Things Should Be [2013]

Tales From The Drop Box

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Monthly Archives: March 2014

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