Well I bet you thought that this podcast had evaporated into the sands of time. It still might, but I’m going to give it a shot. As this is only Episode 5 of Tales From The Drop Box in 2021, and we’ve had several COVID vaccine options in the time I’ve been away, I’m hoping that as things now, after some clusterfuckery, are heading on a positive trajectory. Maybe it was the January 6th insurrection and coup attempt that got me sideways, but I’ll try to get back on track. So, rather than jibber-jabber about nonsense, here is what you came for – nuggets of sonic goodness that will make you want to shake a body part or two.
Here is what you will find in Episode 193 (2021-05):
Neighborhood Brats – “Miss America Pageant” (Confines of Life)
Chubby And The Gang – “Coming Up Tough” (The Mutt’s Nuts)
Jake Bugg – “All I Need” (Saturday Night, Sunday Morning)
Kurt Vile – “Run Run Run” (I’ll Be Your Mirror: A Tribute To The Velvet Underground)
Kenny Hoople/Travis Barker – “Estella//” (Survivor’s Guilt: The Mixtape)
New Candys – “Evil Evil” (Vyvyd)
Social Haul – “The Bayou” (Social Haul)
The Lillingtons – Project 313″ (Can Anybody Hear Me? A Tribute To Enemy You)
Mighty Oaks – “Ghost” (Mexico)
Useless I.D. – “Turn Up The Stereo” (Most Useless Songs)
The Snuts – “Always” (W.L. (Deluxe Edition))
Citizen – “I Want To Kill You” (Life In Your Glass World)
Skeggs – “Fantasizing” (Rehearsal)
Joe Strummer & The Mescaleros – “Coma Girl” (Assembly)
Halsey – “The Lighthouse” (If I Can’t Have Love, I Want Power)
Two broken hearts, but I won’t let you go until you are a ghosts to me…Coma Girl was beating with the oil drum gang some fast food fanatic was burning down a burger van . . .
A little late but better than nothing, I say. (I’d likely say it even if it wasn’t okay because it is almost always better to ask for forgiveness than permission). With that as a preface, here are last month’s dropbox notes:
Music is starting to hit its annual stride with some biggish ( at least in my world) names releasing albums this month. Highlights include new albums by the Buzzcocks, The Black Keys, and Augustana as well as new releases from prior Tales From The Dropbox favorites which you should recognize if you’ve been following along including new/old Danko Jones, Cheap Girls, and a record store day offering from Surfer Blood. If you were laying money on whether I would include the new Coldplay album – not on your life. The album is an uninteresting and unlistenable dirge which appears to be directed to Gwenth…Magic…my a#$%.]
Might as well start this months capsules with the legendary Buzzcocks whose first album in eight years is a rip snorting good time and is unmistakably, in every way, the Buzzcocks. An original punk rock imprimatur, the Buzzcocks for more than three decades have consistently produced exceptional records brimming with their unique blend of catchy melodic punk rock. In this regard, The Way is no different than past Buzzcock releases in that the band accurately reproduces their classic sound consisting of buzz saw guitar and thundering drums all highlighted by Pete Shelley’s distinctive vocals and catchy melodies. The Way makes for a pretty exciting punk rock trip in a world full of indie dance music. For those of you thinking – “Will I hear this exceptional and uniformly excellent record somewhere on the radio? Your answer as always, is no (which is what the dropbox is for). I don’t expect I’ll hear this album played in public in the U.S. of A., but not too worry – no one has to know that you have one the coolest records released this year. No picks here because I am shamelessly biased. Try them all.
I didn’t skip over Cheap Girls who are No. 1 on this month’s dropbox list. It was just that I could not contain my Buzzcocks lust ( Check out the Buzzcocks singing “Just Lust“). So, Cheap Girls’ 4th long player, Famous Graves is about to hit the stores and it is a dandy. You know why you like Cheap Girls? (No, that’s not the reason…I know what you are thinking…stop it). It’s because they have incorporated that Replacement’s melodies with Dinosaur Jr’s guitar sound into their Overwhelming Colorfast styled pop punk tunes and that “sound,” even on darker topics, still makes you happy. Cheap Girls haven’t changed their style over the course of four records and so, for those of you looking for something different will be disappointed. I am not. This is a great record from start to finish and easily will make my play often list. Try “Knock Me Over,” “Pure Hate,” and Splintered.”
Stay classy, San Diego – in the form of Little Hurricane a duo comprised of singer/guitarist Tone Catalano and drummer/vocalist C.C. Spina who on their sophomore record, Gold Fever, have captured a significantly different spin on blues based rock setting them apart from musical cousins like the White Stripes or the Black Keys (who are also in this month’s dropbox). The songs on Gold Fever are warm textured and bright sounding acoustic flavored rockers with a vintage guitar sound that highlights the dynamic aspects of this collection of songs. C.C.’s backing vocals give the necessary “flavor” that only a female can bring to these melodic songs, and distinguish them from the Black Keys who they will likely be compared. Little Hurricane are not copyists – they have their unique take on a classic sound, and it is thoroughly enjoyable (Loved the horns on “Boiling Water”) on what is a consistently great record. Try “Boiling Water,” “Breathe,” and “Sheep In Wolves Clothes.”
I’ve put the two compilations in this month’s dropbox together because they belong together. They are different takes on the same subject from opposite sides of the Pacific Ocean: Last year’s U.S take on Killed By Death punk – Punk 45 Kill the Hippies! Kill Yourself! The American Nation Destroys Its Young and this years companion album representing the British take on punk – Punk 45, Vol. 2 Underground Punk and Post Punk in the UK, 1977-1981. For those of you not familiar with Killed by Death aka KBD, it was a bootleg compilation series produced by several bootleggers whom, at various times, compiled rare and out of print punk singles into compilation albums, generally with a theme. These records, all going on eBay for hundreds of dollars are mostly private label affairs and therefore are regional favorites and existed for moments of time in the punk pantheon. For those of you collect punk 45’s many of these are the holy grail of collectability. More importantly, they truly are worth the listen. If not for these types of compilations (bootlegs or “official bootlegs”), the tunes these compilations contain would be lost. were terrific not only in their time, but today. Come on…admit it…you wondered what that Pagan’s single sounded like, right? Well, I could probably go on for days about many of these songs, a number of which I actually own, but here are some highlights from both records (Don’t worry – both records are awesome, but you need some direction):
Kill The Hippies looks at the nascent U.S. punk scene and although several of these songs were widely available (Pere Ubu and Johnny Thunders) the true gems are the The Hollywood Squares – “Hillside Strangler,” The Pagans – “Not Now, Now Way,” and The Controllers performing “Neutron Bomb.”
On the U.K side of things, Vol. 2 follows similar pattern, with some widely known “rarities” (Television Personalities, Swell Maps and Mekons) and some lesser known highlights. For me, the most interesting was the Killjoys (featuring a pre-Dexy’s Midnight RunnersKevin Rowland) performing “Johnny Doesn’t Want to Go to Heaven,” The Lines – “White Night” and The Rings – “I Want To Be Free.”
In either event, both albums are prime examples of the diversity of early punk rock which makes the task of defining the sound of “punk rock” so difficult. The albums also reveal the impact of geography on the development of a particular punk rock sound and style.
Aside: The greatest mystery in punk rock – a media created genre – is what exactly the “sound” that is representative of punk rock. In the 70’s in Canada, punk rock was defined by the U.K. not the U.S. That is, while almost everyone will acknowledge the tremendous influence of the New York Dolls (who were sleaze/glam rock), the Ramones (who were a sped up 50’s rock n’ roll band), the Velvet Underground (whom were art rockers) and The Stooges (whom few had ever heard and had incorporated late 60’s garage into their Detroit sound) transported the energy of the sound to the U.K) the true punk rock “sound” likely defies categorization. If the Sex Pistols are “it” then they are the sum of their influences – a little Alice Cooper, a little Modern Lovers and by way of extension, the Velvet Underground, some, New York Dolls, and some Ramones all filtered through the lens of the British media. And while punk lasted at best 18 months (ask Johnny Rotten or Thunders, neither of whom survived the death of punk rock – Rotten who dumped the name and Thunders who ended his life) the ripples created by that brief moment in time have lasted almost 40 years. Perhaps not in the same form, but clearly incorporating those elements in new and powerful ways. And while it is unlikely that we will ever see the collision of events – politically, culturally, economically, that will recreate the cauldron that birthed punk again, it is great to see records like these 2 collections of KBD punk as perhaps they will inspire a new generation of do-it-yourself individuals to go forth and create a scene, for themselves, and that is good.
The Old 97’s on Most Messed Up also carry the spirit of the KBD movement but having taken a countrified turn in their punk rock early on, the punk influences have at times been tamped down on their latest releases in favor of a more tradtitional country sound. However, as the Most Messed Up collection reveals, at least ofr the Old 97’s, there was no going back to pure punk once the decision was made to explore what would become a unique subgenre in traditional rock now known as alt-country. While the first couple of Old 97’s records leaned a little more to the punk side of the equation – both lyrically and sound, the songs on Most Messed Up find the perfect balance – ragged up tempo rollicking ragers with some country flourishes that highlight the special nature of the Old 97’s sound. As their reissues from last year demonstrated, the Old 97’s blend of country and punk rock occupied a unique space in the rock world populated by a few other mid 90’s No Depression pioneers such as Whiskeytown and Uncle Tupelo. Formed in Dallas Texas, singer Rhett Miller has also recorded four solo records, and it is unfathomable to me why this band has never reached popular success – the songs on Most Messed Up are the perfect blend of the energy of their punk rock roots and a natural outgrowth of their country upbringing – producing a sound not unlike the Replacements. Rhett Miller is an engaging singer – and the lyrics on this record are wry, witty, and diverse and somewhat autobiographical of the band. Beginning with opener “Longer Than You’ve Been Alive” where Rhett proclaims that “I’ m not crazy about songs that are self-referential” the Old 97’s blast through this all too short collection of ravers. Try “Give It Time,” ”Guadalajara” (Sounds like early Elvis Costello, right?), and “Intervention.”
I am a huge FAN of Augustana, so there is little doubt that their latest, Life Imitating Life, would end up in the dropbox. There is something so connecting about Augustana’s music – from the big guitar piano infused indie pop to the sing-a-long choruses created by Dan Layus’ distinctive voice, the tunes on Life Imitating Life creates multiple enjoyable moments. The production on the record and Augustana‘s distinct sound are, for me, hit right in the sweet spot of the One Tree Hill genre (I know it’s not a genre – but it should be) Although this is Augustana’s 5th album, Layus remains the sole remaining member of the band with the other two original members having left 2011. So, where does this leave Layus on Life Imitating Life? Remarkably consistent with past efforts. While not every song on Life Imitating Life is a winner, there are several songs here that capture the magic that made the earlier albums such charmers. I will say though, it is going to be difficult to follow up a song like “Fire” which was amongst the best pop songs possibly written. Still, there are some songs here that will end up being played on repeat in your iTunes. Try “Youth Is Wasted On The Young,” “Ash and Ember,” and “Remember Me.”
Entering the garage underground are Memphis’ Ex-Cult who on their latest, Midnight Passenger, sound like Ex-Cult i.e. Cramps infused punk rock with hints of new-psychedelia. However, what makes Midnight Passenger markedly different from Ex-Cult’s self-titled debut is the quality of the production. This album is so sonically superior to their self-titled debut that it reminds me of the sound quality difference between Husker Du’s Metal Circus and Zen Arcade – a million miles apart. The increased production makes sonic highlights stand out such as as the twin guitar attack which is given space amidst the furious drumming. The improved production also captures the aggressiveness of the band and the vocals being brought to the front of the mix instead of buried in the sound permits the listener to fully appreciate the dark lyrics of Chris Shaw e.g. “I am the voice from the sewer” ( from “Midnight Passenger”). This is a pleasantly bruising record. Shaw’s voice fits perfectly in the swirling frenzy. This would be an awesome live experience. Try “Midnight Passenger,” “Sid Visions,” and “Lights Out Club.”
Jessica Weiss (guitars, vocals) and Daniel Falvey (guitar) comprise Fear of Men whose indie pop falls somewhere between Camera Obscura, The Chills and the Smiths, who on Loom, their proper debut, apparently find a creative connection (and a slightly ironic one at that) with the Smiths and androphobia ( the name of the disorder that causes an individual to actually fear men). If you think about the Morrissey, megalomaniac and vocalist/lyricist for the Smiths for say a half a second, then the irony should become apparent. What makes this Loom unique as a creative work is the laser-like focus of Fear Of Men in taking their dream pop to the edge of darkness. Loom deals with isolation, loneliness, and emotional disturbances in a compelling environment. Weiss’ voice is so sweet and in stark contrast to the dark undercurrent and themes present on Loom. A couple of these tracks were released on a collection called Early Fragments which made the dropbox last year. These tracks are improved and fit neatly into this collection. Try “Luna,” “Descent,” and “Inside.”
From the missed it the first time around collection is Valencia Spain’s Euro Trash Girl, whom recorded Floating Down Memory Lane at Little Canyon and Rockaway Studios in the United States. Released in 2012 ( I know – I’ve discovered this gem really late), the jangle pop created by Euro Trash Girl is in the same vein as Let’s Active and 80’s alternative rock (think early Throwing Muses/ Bangles). Floating Down Memory Lane sonically is the perfect blend of Judit Casado impressive vocals and a wall of swirling ringing jangle guitar.
A note for the band: I was unable to find much about you – anywhere. As you have no US distribution, don’t belong to a label, and not much else on any of the usual websites – it will be difficult for anyone to follow you.
Euro Trash Girl looks to be a very regional band. However, if you like your alternative paisley pop with a husky throated female vocal, then give this a whirl and definitely seek them out if you stumble across anything online. Great videos though – click the links, eh? Try “City Skyline,” “Thirteen Miles,” and “Hurting Love.”
Toronto Ontario’s Born Ruffians (essentially songwriter/vocalist Luke LaLonde) on the limited (100 copies) deluxe edition of Birthmarks (adds four new songs and 5 acoustic versions from the album) shows a writer at a creative crossroads. Birthmarks is a commercial pop record i.e. designed for mainstream radio play and on that level Birthmarks succeeds remarkably well. In a more progressive world, calculated indie will find a place. However, with that compromise comes some challenges and Birthmarks presents a couple as the songwriting is a bit uneven and in places the album falls into the repetitive “feel” trap. But there is something else going on with Birthmarks as evidenced by the cohesiveness of the songs as a whole. The production has smoothed the rough edges of earlier releases, but the lyric approach is definitely more mature and the songs on Birthmarks are all characterized by crisp production, catchy punchy choruses, and an ear for melody that make this indie rock all the more compelling. Try “6-5000,” “Dancing On The Edge Of Our Graves,” and “Rage Flows.”
Readymade for KROQ/Alt 98.7 is Los Angeles’ Bad Suns who on Transpose have mastered the sound that every corporate rock station has now decided to call alternative. I note that this term is constantly evolving, but with no baseline sound to compare it with, the word alternative really has no meaning today. In the past when the word alternative was utilized it meant alternative to metal, pop, disco, progressive rock and 60’s rock, and didn’t fall within the definition of punk. Now, apparently it means indie dance.Transpose is an EP of catchy melodic indie dance pop with soaring atmospheric melodies and extra bright guitars – you know, pretty much everything being played on those types of “alternative” radio stations. While that is not necessarily a bad thing, as evidenced by the inclusion in the drop box, I really had to think about what made this stick out from similar ilk. A description of the ilk I am referring to here is found below. It was these differences that were enough to get me to include Transpose in this month’s dropbox.
NOTE: Like sugar, Transpose can grow tiresome with repeated plays, so for @^^^#$^ sake when this actually is played on the radio, hopefully they won’t play it so much that I cringe.
I missed Bad Sun‘s debut album last year for some reason, which I cannot for ther life of me remember or explian right now. I’m sure it was okay, but it didn’t capture my attention or imagination given the sheer volume of releases in any given year, many of which are just better. As for what Bad Suns sound like? Well, this is Young The Giant/Vampire Weekend/Two Door Cinema Club territory and this would be awesome in the indie dance clubs if I actually knew what those were and what they played. I don’t have a clue. Catchy, danceable….hell. ( try to imagine me sort of dancing…not a pretty sight or image. Try “Transpose,” “Cardiac Arrest,” and the Vampire Weekend-ish “Twenty Years.”
Another Los Angeles entry to the dropbox is Early Morning Rebel. Comprised of Nathan Blumenfeld-James, Dustin Bath and Joshua Mervin, the band has created an electronic version of the National crossed with Augustana – a piano infused indie rock with a wall of sound behind crisp vocals – a winning combination. Although they self-describe as pop noir, Life Boat (which has been reissued by Baby Bird Records) is much more than homage to these bands and I was hooked by the time I reached standout track “Burn Us Down.” Try “Burn Us Down,” “War On Love,” and “Life Boat.”
Well, there is no doubt that the world needs another intelligent punk band, and Montreal’s Ought may just fill the bill, as More Than Any Other Day, mines the same art-emo punk territory as Cap’ n Jazz,Slint, Naked Raygun etc.. In a world filled with contemporary pop leaning music, More Than Any Other Day is definitely on the edge of the indie punk underground, and from my framework of progress – a welcome breath of fresh air, essentially a palate cleanser, for smart awkward jazz influenced punk rock. On “Habit” vocalist and guitarist Tim Beeler comes off as a David Byrne devotee with the same stop start vocal intonation that was present on Talking Heads 77 and “Psycho Killer.” Captivating and compelling, I found myself hooked as I hope you will as well. Try “Habit,” “Gemini,” and “Around Again.”
Dutch pop rockers Di-Rect, on their seventh release, Daydreams In A Blackout, strike at the heart of the alternative pop genre, with an album full of melodic songs that have killer choruses that blast from your stereo. Di-Rect have, since 1999, consistently put forth interesting albums, usually with several radio friendly singles (perhaps only in the Netherlands) all sung in English. To demonstrate the popularity of the band as a chart act, when former lead vocalist and original member Tim Akkerman announced in 2009 that he was leaving the band, they held a nationally televised vocalist search. On November 8, 2009 in the live finale of a nationally televised BNN program Wie is Direct? (English: Who is Di-rect?), the band made a unanimous decision to have Marcel Veenendaal from Arnhem as their new lead vocalist and front man. Fast forward 5 years and Di-rect’s keyboard/synth laden melodic rock is interesting for the piano flourishes, but also for Marcel’s falsetto which creates tension in these atmospheric pop rockers. Try the two hits first “Invincible,” and “Paper Plane,” then have a go at “Out In The Wild.”
Staying with the European side of the music world, Finnish indie rockers, Satellite Stories, released on November 1, 2013 their excellent sophomore album, Pine Trails, which is chock fully of instantly likeable indie electro-pop in the vein of Two Door CinemaClub and Bastille. Tremolo laden guitar work highlights the catchy choruses and synth heavy uptempo pop all played with a cool feel. I like this a little better than the Bad Suns record above, if only for the fact that this doesn’t appear to be written for commercial radio, bt rather the outgrowth of a process where Satellite Stories have attempted in part to emulate their more famous brethren without sacrificing their…soul. Try “Lights Go Low,” “December Theme,” and “Pinewood Parkways.”
While you should probably never bury the lead, I’m going to do it this once. Split Single has released an excellent debut record full of indie rockers that echo some of the best sounds of the 80’s and 90’s power pop scene. As contemplated by vocalist/songwriter Jason Narducy (he of Verböten, and its offshoot Verbow) who for the past decade or so has been touring and playing with Bob Mould as bassist and background vocals, and recently touring with Superchunk filling in for bassist Laura Balance who was ill dealing with sound sensitivity, the influences of those experiences inform both the songwriting and music on Fragmented World. So, where is the lead? Well the rest of the band is Britt Daniel of Spoon who plays bass and Jon Wurster (Superchunk, Mountain Goats, and Bob Mould) on drums. So what does a Britt Daniel/ Narducy non-Spoon band sound like? Think gauzy power pop with some pretty intricate bass playing laying a solid foundation for Narducy’s solid vocals more in the Alex Chilton/Chris Stamey mold on the prettiest of these songs which are complex and beautiful power pop (Cheap Trick!) with restrained power. Click the links to see a couple of live versions that are excellent. Try “Searches,” “Fragmented World,” and “Never Look Back.”
On the Python Demos, Surfer Blood gives us a hint at the early process behind the songs that eventually wound up on the excellent but disconcerting Pythons album from 2013. This group of songs, written while John Paul Pitts was in the midst of a tumultuous relationship, channels the tension of that relationship, and the process of resolution. The results, as laid bare on Demos is happy sounding music (Weezer and Buddy Holly (not the song but the singer)) with much darker lyrics wrought with emotion and overlain with some pretty great guitar. According John Paul Pitts, “These tracks represent the initial essence of the songs that would later be recorded with Gil Norton. While they are rougher than the recordings that would come out on ‘Pythons’ more than a year later, I think they accurately represent the character and sentiment the songs were meant to deliver.” These demos, released in a limited edition of 1,000 copies worldwide on Record Store Day do something with the songs that the proper Pythons record does not accomplish – they highlight the diversity in Pitts’ songwriting approach only hinted at on the released versions, and in many ways, Python Demos, with several Pavement sounding stretches, captures on vinyl a moment of time that is both raw and naked. Listening to the Demos back to back with Pythons, you would swear these are two different records. Try “Gravity,” “Weird Shapes,” and “Prom Song.”
If you are a Black Keys fan, then any review will probably not matter. If you are not, then what will it take to make you a fan? The question for those who were spoon fed Black Keys by so called alternative radio over the past five years, is whether the Black Keys fit within your sonic palate. Turn Blue is exactly what the title implies, the Black Keys, who were always a blues based garage rock band, have now dialed up the blues portion of the spectrum and hit the 70’s AM radio groove. Believe me when I say it is going to take a few spins before you will be amazed at the heaviness of what turns out to be an exceptional rock record. Turn Blue is the Black Keys’ 8th record and that experience is playing tremendous dividends as it is evident that the musical approach taken on Turn Blue is to create more of an atmosphere as compared with prior offerings and the songwriting is far more mature. Like the hit monster Brothers from a couple of years back, Turn Blue will lend itself to some amazing live workouts that will add a new dimension to the already excellent live show. Auberbach called the album “headphone music” and that is an apt description – this album is best explored, like Pink Floyd, though headphones where you pick up nuances, emotions, and sounds that are missed when transmitted over great spaces. The single “Fever” will get well deserved attention, but for me, it was the darker moments that were captivating. Try “Weight Of Love,” “Fever,” and “Turn Blue.”
Full disclosure – Danko Jones can do no wrong. I was captured by the punishing KISS derived ROCK ( Yes – all caps) of Danko Jones on their proper debut Born A Lion which was released in 2002. Danko Jones now does KISS better than KISS.
ASIDE: Whereas KISS lost the path (and really for any KISS fan who is reading this – any version of the band without Ace and Peter is inferior. KISS today is like the resulting copy of a color photograph put through a black & white photocopier a million times – faded, and barely recognizable as the original. KISS has now evolved into something so far removed from the sound that I dreamed about upon my mother bringing me Dressed To Kill back from a trip to Vancouver to the Yukon in 1975. KISS has filled the world with DRECK – with KISS freaking disco records, KISS acoustic etc.!!! , and all out just plain crap. Now that KISS are finally in the old dead band hall of fame and noting that Gene and Paul were nothing short of #$^$^ wipes to not play live with Ace and Peter, the version of the band that was actually inducted, hopefully we can put the KISS corpse to rest.
Danko Jones has remained true to the Kiss sonic blueprint – balls out rock n roll. Jones explained that since these recordings were made, he and his band mates have evolved beyond their garage rock origins ( I’ve left the Canadian spellings of the original):
If a band continues past the gesticulation stage, the term “garage rock” is usually rendered unusable. Back in the ’90s, the garage rock scene, as I knew it, was a warts-and-all approach that favoured low-fi recordings and rudimentary playing over any modicum of musical prowess in order to glean some rock’n’roll essence. However, once a band got better at their instruments, songwriting and stage performance, the inevitable crossroads would eventually appear.
Deliberately continuing to play against their growing skill would only evolve into a pose. There were a lot of bands who did exactly this in order to sustain scenester favour. We did the opposite.
What you hold in your hands is a document of what we were and where we came from. We didn’t know how to write songs and could barely play but we wanted to be near to the music we loved so badly. We ate, slept and drank this music. We still do. That’s why we have never had to reunite because we’ve never broken up. After 18 years, we’ve stayed the course, got tough when the going did and, above all else, we have never stopped. This album is the proof.
And it is fascinating. Warts and all, you’ll have a blast listening to this record, and perhaps like me, you’ll find some gems that will keep you wishing for more. Try “Rock and Roll Is Black and Blue,” “Best Good Looking Girl in Town,” and “She’s Got a Bomb.” No live versions exist, so try this live show from April 5, 1996 in Toronto (split parts) which was likely their second or third show ever. Note: Danko Jones looks like Lenny Kravitz wearing Jimi.
Jake Bugg is on a roll. Messed Up Kids is the fifth single from his sophomore record, the excellent Shangri-la, and this EP features the single and three songs recorded from those same sessions but not included on the record: “A Change in the Air”, “Strange Creatures” and “The Odds”. The acoustic “Strange Creatures” with its finger-picking intro and backwoods acoustic feel is a highlight, but try them all.
Borlange Sweden’s Mando Diao is also on my favorite list as I was captivated by their debut, 2002’s Bring ‘Em In and stunning follow up 2004’s Hurricane Bar. I played these records endlessly, and still find time to put them into the iTunes. Since then Mando Diao have had a few uneven releases since those two first records, both of which featured Strokes styled garage indie rock. For example, their last record, 2012’s Infruset was sung in Swedish and was written on the occasion of Swedish poet Gustaf Fröding’s (1860–1911) hundredth death year wherein Mando Diao‘s Gustaf Norén was asked to set one of Fröding’s poems to music. The beauty and honesty of Fröding’s poetry as well as his eccentric and anguished way of living was appealing to the band who decided a full length was necessary. The songs are slow and melancholic with the band taking a decidedly minimalist approach with sparse acoustic guitar and piano as the main focus highlighting the melancholy Fröding’s words transformed as lyrics. I put Infruset in the dropbox in 2012, and now, how does Aelita fit within the Mando Diao song catalog? Well, a side step – now exploring 80’s electro-indie dance, these songs are more like Visage and Ultravox mixed with the entire New Romantic Movement e.g. Spandau Ballet and Classix Nouveau than, say, China Crisis. If you are old enough to remember those bands, then you will understand immediately where Mando Diao is taking thier music – Aelita is unabashedly influenced by 80’s electronic dance music as best exemplified by “Money Doesn’t Make You A Man,” which could easily have been on the Miami Vice soundtrack. All that said, I enjoyed the retro look back and found enough on Aelita to take a few spins. Try “Black Saturday,” the Morricone/ Georgio Moroder influenced “Sweet Wet Dreams,” and the Spandau Ballet sounding “Romeo.”
Nashville’s PUJOL aka Daniel Pujol on Kludge, their second album full of fuzzy glam pop takes a striking leap forward from the mostly excellent debut, 2012’s United States Of Being, by bringing a “dirtier’ guitar sound to the proceedings and toning down a little bit the power pop leanings of that first record. The songs on Kludge fall somewhere between the MacDonald Brothers (Red Kross) and Sweet/Slade end on the glam rock spectrum. However, this glam rock sound is also shuffled throughout with new punk revival ( Jay Reatard and Frank Turner). Taken as a whole, Kludge is a varied and interesting take on a wide number of genres all filtered through PUJOL’s punk rock blender. Try “Pitch Black,” the Dylan-ish “Spooky Scary,” and “Small World.”
Sharon Van Etten’s fourth album, Are We There, is the stunning masterwork of a woman who has finally worked through the emotion of her last outstanding album, 2012’s Tramp, to find herself in control of both her emotions and her instrument. Are We There Yet still finds Van Etten at the intersection of heartbreak and loneliness but more confident, vibrant, and the music adds rather than distracts from the powerful performances captured on this amazing slab of vinyl. The centerpiece of this album, the stunning, “Our Love” is juxtaposed against the breathtaking “Your Love Is Killing Me” and is as fine a 10 minutes of music as you will hear this year. I am positive you will find something that works for you here when your feeling a little bit blue. Try “I Love You But I’m Lost,” “Our Love,” and “Every Time the Sun Comes Up.”
Toronto’s Fucked Up occupy a unique space in hardcore punk. A very unique space. Glass Boys, their fourth long player is a very dense, compact, and powerful hardcore experience. Although many will not see the parallel, Glass Boys is a much more conventional record than prior Fucked Up releases and as a statement of where the band is now sonically, Glass Boys is an extension of the ground trod 25 years previously by Husker Du and in some small way, the Minutemen, as Fucked Up rage and confront the listener with what is essentially a series of internal conversations all in some manner dealing with “value” – old versus new, experience vs youth, art vs commerce etc. The most important thing about Fucked Up as a band and Glass Boys as a record is that Fucked Up is taking the hardcore genre is an exciting new direction. Glass Boys adds Husker Du influences to modern rock and hardcore and is so doing is taking a huge risk both sonically and with the bands core fan base – with the result – an intense, melodic, and thoroughly enjoyable hardcore album which stands alone in Fucked Up’s catalog and as the next logical progression in the evolution of a band uncomfortable with the status quo. Having followed Fucked Up from the beginning, over their four LPs and a number of EPs it is fair to say that Fucked Up is an essential rock band, and I dare say, uniquely Canadian. Genius. Try “Touch Stone,” “The Great Divide,” and “Paper The House.”
Acceptance. If you were a fan of Bright Eyes the earnestly emo-indie rock “band” of Conor Oberst’s youth, then the time has come to accept that Conor is not the same guy or in the same place as Bright Eyes. This is not a new Bright Eyes record. Rather, it is the work of a more mature country–folk artist and the songs are lush, full sounding and melodic. Conor Oberst is now trading in the mature singer/songwriter brand of music, much like the way that Matt Pond has recently performed, with an electric guitar as an instrument of depth and not focus. As a consequence of this stylistic choice, the vocals on Upside Down Mountain are stellar as Conor finds his voice – his true voice – in exploring his traditional dark themes in songs brimming with melody and country edges. Upside Down Mountain contains some very sweet songs where the electric guitar is vital to the overall sound but played with restraint and in such a manner that the guitar work exposes the heart of the song. Try “Zigzagging Toward the Light,” “Enola Gay,” and “Kick.”
Much like one of my favorites, Billy Talent, Vancouver’s The Binz on How To Freak Out Responsibly In The Age OF Robots is a fun romp with an album full of classic garage rock influenced post-punk rock. The album was played on CITR in Vancouver and for good reason – it is a spectacularly fun record that should be played loud at parties everywhere. Short sharp blast of punk rock energy – most songs hovering around the 2 minute mark, How To Freak Out Responsibly In The Age OF Robots reminds me of the “sound” first made me start loving punk rock in the late 70’s as a new arrival to Vancouver in 1978. Without waxing nostalgic, the Subhumans, Modernettes, Pointed Sticks, and K-Tels all reside somewhere in the heart of this record. Try “Suffer,” “Radio,” and “Paranoid.” Here they are playing the Semi finals of CITR’s Shindig! 2013 at the Railway Club in Vancouver.
I’ve added a couple of other things this month worth mentioning briefly. You will find R.E.M. ‘s complete set of rarities al in all 181 Tracks from I.R.S. and Warners divided into two collections. Here’s Pitchfork’s story: R.E.M. Release Massive Rarities Collections.
Also don’t miss some of the releases at the bottom of the list including Oasis‘ Record Store Day offering of its debut single “Supersonic” which was pressed as a 12” for the first time ever and a new mix of the track with a couple of b-sides; the new Savages single, and a couple of great records such as those by Big September and Dirt Box Disco which I didn’t have time to get to tell you about. Oh well, perhaps later.
So until we meet again…
…. here is this month’s list:
Cheap Girls – Famous Graves 
Buzzcocks – The Way 
Little Hurricane – Gold Fever 
VA – Punk 45 Kill the Hippies! Kill Yourself! The American Nation Destroys Its Young 
VA – Punk 45, Vol. 2 Underground Punk and Post Punk in the UK, 1977-1981 (2014)
Old 97’s – Most Messed Up 
Augustana – Life Imitating Life 
Ex-Cult – Midnight Passenger 
Fear Of Men – Loom (RSD) 
Euro Trash Girl – Floating Down Memory Lane 
Born Ruffians – Birthmarks [Deluxe Edition] 
Bad Suns – Transpose EP 
Early Morning Rebel – Life Boat 
Ought – More Than Any Other Day 
Di-Rect – Daydreams In A Blackout 
Satellite Stories – Pine Trails 
Split Single – Fragmented World 
Surfer Blood – Pythons [Demos] 
Black Keys – Turn Blue 
Danko Jones – Garage Rock! A Collection of Lost Songs from 1996-1998 
Jake Bugg – Messed Up Kids EP 
Mando Diao – Aelita [Deluxe Edition] 
Pujol – Kludge 
Sharon Van Etten – Are We There 
Fucked Up – Glass Boys 
Conor Oberst – Upside Down Mountain 
Binz – How To Freak Out Responsibly To The Rise Of The Robots 
Welcome to another year of Dropbox Notes ! This month’s offerings are the best of last year, i.e. my favorite records from 2013.
In the past, I have posted my best albums of [insert year] list with little regard to the order on that list. That is, I just posted my favorite records of the previous year in an approximation of what I liked the best. This year, I struggled to try to get through at least the first 30 albums in order of how good I thought they were; how much I enjoyed listening to them, and how likely I would go back and play them after not listening to them for a year.
That qualifier – whether you would go back and listen to a record after a year of not playing the album – appears (at least to me) to be the real test of a list like this. In the past, most of the other lists I have reviewed (you can find some at rocklist.net) from some of my favorite magazines have not contemplated the long term impact of the records they claim are the best and greatest of the year. Some magazines do a better job of this (and I am confident it is completely unintentional) than others.
For example, looking back just 5 years to 2008, compare these two top 20 lists from Q Magazine and Spin:
Q Magazine 2008 Top 20
1. Kings of Leon – Only By The Night
2. Fleet Foxes – Fleet Foxes
3. Coldplay – Viva la Vida
4. Vampire Weekend – Vampire Weekend
5. Glasvegas – Glasvegas
6. Duffy – Rockferry
7. TV On the Radio – Dear, Science
8. Elbow – Seldom Seen Kid
9. Raconteurs – Consolers of the Lonely
10. Nick Cave & the Bad Seeds – Dig!!! Lazarus, Dig!!!
11. Sigur Rós – Með Suð í Eyrum Við Spilum Endalaust
12. Keane – Perfect Symmetry
13. MGMT – Oracular Spectacular
14. Kaiser Chiefs – Off With Their Heads
15. Lil Wayne – Tha Carter III
16. Hot Chip – Made In the Dark
17. Adele – 19
18. British Sea Power – Do You Like Rock Music?
19. Goldfrapp – Seventh Tree
20. Gaslight Anthem – ‘59 Sound
Spin 2008 Top 20
TV On the Radio – Dear Science
Lil Wayne – Tha Carter III
Portishead – Third
Fucked Up – Chemistry of Common Life
Fleet Foxes – Fleet Foxes
Santogold – Santogold
Deerhunter – Microcastle
Hot Chip – Made In the Dark
Coldplay – Viva la Vida
MGMT – Oracular Spectacular
Elbow – Seldom Seen Kid
Erykah Badu – New Amerykah Pt 1: 4th World War
No Age – Nouns
Vampire Weekend – Vampire Weekend
Beck – Modern Guilt
My Morning Jacket – Evil Urges
Roots – Rising Down
Nick Cave & the Bad Seeds – Dig!!! Lazarus, Dig!!!
Okkervil River – Stand Ins
Gnarls Barkley – Odd Couple
There is a little overlap on these two lists but on average from the Q Magazine list, I would listen to 5/20 (25%) and from the Spin list I would listen to 4/20 (20%). Can you guess which records I’d probably revisit?
With this personal observation i.e. that there are very few records that I would continue to play after a gap of a year, this list is prepared with that objective also in mind – looking forward 1 year from now.
And perhaps that is the goal of this “Best of 2013” list – to check back in a year and see how many of the 100 listed here you would go back and listen to in 2015.
With that said, here is my list of the BEST OF 2013 (all capitals because I am shouting):
Tales From The Dropbox Best Albums of 2013
Savages – Silence Yourself
FIDLAR – FIDLAR
Pacific Air – Stop Talking
Guards – In Guards We Trust
The Men – New Moon
Arctic Monkeys – A.M.
Kurt Vile – Wakin’ on a Pretty Daze
Paper Lions – My Friends
Parquet Courts – Light Up Gold
Palma Violets – 180
Fuzz – Fuzz
The National – Trouble Will Find Me
Paper Aeroplanes – Little Letters
Chvrches – The Bones of What You Believe
Speedy Ortiz – Major Arcana
Pure Love – Anthems
California X – California X
Foals – Holy Fire
Future Of The Left – How To Stop Your Brain In An Accident
Arcade Fire – Reflektor
Mikal Cronin – MCII
Vampire Weekend – Modern Vampires of The City
Starflyer 59 – IAMACEO
Miles Kane – Don’t Forget Who You Are
Lydia – Devil
London Grammar – If You Wait
Royal Bangs – Brass
Upset – She’s Gone
Waaves – Afraid of Heights
Deerhunter – Monomania
The Julie Ruin – Run Fast
Jagwar Ma – Howlin’
Haim – Days are Gone
Bad Sports – Bras
Bastille – Bad Blood
My Bloody Valentine – m b v
Deap Valley – Sistrionics
So So Glos – Blowout
Wooden Shjips – Back To Land
Drenge – Drenge
Hookworms – Pearl Mystic
These New Puritans – Field Of Reeds
The Knife – Shaking The Habitual
Julia Holter – Loud City Song
Waxahatchee – Cerulean Salt
Iceage – You’re Nothing
Yo La Tengo – Fade
Superchunk – I Hate Music
Volcano Choir – Repave
Phoenix – Bankrupt!
Purling Hiss – Water on Mars
Roshambo – Lonesome Men From The Woods
Pissed Jeans – Honeys
Queens of The Stoneage – Like Clockwork
Phosphorescent – Muchacho
Local Natives – Hummingbird
Factory Floor – Factory Floor
Foxygen – We Are The 21st Century Ambassadors of Peace & Magic
Riots – Time For Truth
Wonder Years – The Greatest Generation
Fall Out Boy – Save Rock And Roll
Forest Swords – Engravings
James Blake – Overgrown
Thee Oh Sees – Floating Coffin
Mutual Benefit – Loves Crushing Diamond
Strypes – Snapshot
Acres of Lions – Home(s)
Daughter – If You Leave
Grouper – The Man Who Died in His Boat
Ballet – I Blame Society
Tegan and Sara – Hearthrob
Peace – In Love [Deluxe Edition
Taymir – Phosphene
Chastity Belt – Ne Regerts
Auto Defiance – Running on The Edge
Jimmy Eat World – Damage
Courtney Barnett – The Double EP – A Sea Of Split Peas
Dirtbombs – Consistency Is The Enemy
Fitz & The Tantrums – More Than Just A Dream
Hungary Kids of Hungary – You’re A Shadow
Imperial State Electric – Reptile Brain Music
Iron Chic – The Constant One
Sky Ferreira – Night Time, My Time
Matt Pond – The Lives Inside The Lines In Your Hand
Jake Bugg – Shangri La
Murder By Death – As You Wish Kickstarter Covers
Cage the Elephant – Melophobia
Teen Agers – I Hate It
Beware of Darkness – Orthodox
Super Happy Fun Club – All Funned Up
Middle Class Rut – Pick Up Your Head
Banquets – Banquets
Cults – Static
RVIVR – The Beauty Between
Exxonvaldes – Lights
Mama Kin – The Magician’s Daughter
Swearin’ – Surfing Strange
Dead Sons – The Hollers And The Hymns
Growlers – Not. Psych!
Guster – Live With The Redacted Symphony
I’ll add the covers if I get a chance, but otherwise enjoy the list. Part 1 of the list ( 1-50) dropped today. I’ll drop part 2 (51-100) around February 1, so a slightly shorter turnaround this month/
Let me know if you think I’ve missed something, or your thoughts on the list. If you have a list you’d like to share – post a comment or send me the list and I’ll post it.
Until later alligator! I wish you all a terrific and happy 2014. Peace out.
Now that you’ve had a little time to digest this month’s offerings, I figured I’d try a little different method of introducing this month’s dropbox offerings. As you know, if an album is on the list, then I like it. It is pointless to “criticize” a record. Over the years I have read reviews in a large variety of publications, including fanzines, almost religiously, with a singular purpose: to determine whether I would like an album enough to purchase it. However, when I actually thought about the information I was processing, in the end it was all about the quality of certain information in a review. Most reviews are rather worthless fluff. It seems as if writing more about how the band feels about the record was somehow important, or where it was recorded, or how it compares to the last record ( always harder, faster, more fully realized, etc.), or the difficulties one or more band members experienced during the writing process (Alternative Press – I’m talking about you here) was somehow important in making me decide to make a purchase. I am a slow learner. It is only recently I realized that I was only just scanning theses so-called reviews to see if I could gleam valuable nuggets of information that would help me decide on whether I would actually like the record. Some reviewers are better than others at giving me the information I needed to make that decision and I find that I am sometimes guilty of excessive descriptors.
So, after plenty of thought, I have divined the minimum amount of knowledge required to make a decision:
1. Band Name + Album Cover – You can often determine what genre a record falls into pretty quickly by looking at the album cover and in knowing the genre, you’re probability of determining whether you’ll actually like the album will increase, sometimes, significantly (in the true meaning of the word significance). Art is very much a part of the record buying experience. Death metal and thrash albums look different than indie records which look different from pop artists and country. There are exceptions, but generally, the formula, band name + album cover art = genre can help you narrow things down. As noted below, this is why a video of the band performing live is really helpful. Than you YouTube!
2. What other sound/influences are present? This is a different question than one that is often asked of the musician’s themselves. If the information comes from a band member, the “influences” question (which in my opinion is a fairly lazy and poor question) can produce a wide variety of answers none of which will actually help with the decision to listen to an album based upon a review. For example, here are Sky Ferreira’s claimed musical influences: Madonna,Prince,Gwen Stefani,Britney Spears,Alice Cooper,Nancy Sinatra, and The Runaways.
So, when you listen to the record, which is in this month’s dropbox, do you hear any of these influences? No. Not a single one is present on this record. Not much help.The real question for PIP (purchasing information purposes), are those elements of artists that have a similar sound to the artist being reviewed, so you can kind of figure out if it is a sound/artist you would like to listen to and then take the leap from there. For example, it is not much of a stretch to say that the early Jonathan Richman and the Modern Lovers records sound like Lou Reed and the Velvet Underground. How do I know? I asked Jonathan in Vancouver and he said “I ripped them off, I tried to sound like them.”
There should be little debate that throughout the history of recorded music, artists have incorporated elements from other artists into their compositions. Whether by design, accident, coincidence, the limitations of human imagination, or genetics, popular music is derivative. The past is a predictor of the future, right? Comparison should not be avoided when it can lead to finding something worth treasuring.For me, these comparisons are helpful. If I know and like the other artist to which the comparison has been made, then the probability of me liking the unknown artist, increases proportionately to the reputation of the comparison artist. For example, if you tell me an artist sounds like the dBs or Replacements – I’m in. I will purchase the record. I love those sounds.
3. Where is the artist located? Regionalism in music is important. For example, the English punk rock scene, Seattle’s grunge scene, Athens GA, North Carolina alternative rock, Minneapolis punk rock, Vancouver punk rock, even Toronto, Boston, Los Angeles, and New York developed some interesting variants in the same genre, i.e. a sound associated with a city. Once a particular type of music becomes moderately successful in an area i.e (playing shows that people are attending) then other bands in the area start developing a similar sound. This may be a result of bands playing together on a concert bill, or attending each others shows (British punk is an excellent example of this), or in areas where college radio still has an influence, hearing like minded musicians playing and incorporating those sounds into a bands oeuvre.
All this is not meant to infer that bands are mere copyists, but this “regionalism” is one of the qualities that I have found helpful in determining whether I am going to like a band. The place of origin alone is not very helpful, but as an additional piece of information, sometimes you can connect the dots to discover a connection to a particular sound.
3. Who produced the record? In certain genres this is an important piece of information. Depending on your familiarity with a particular type of music certain producers names have considerable influenced my decision to purchase an album. For example, Mitch Easter has produced a huge number of records by bands whose records I’ve liked. ( R.E.M., Ben Folds Five, Pylon, Helium, Pavement, Suzanne Vega, Game Theory, Marshall Crenshaw, The Connells, Velvet Crush, Ken Stringfellow (of The Posies), and Birds of Avalon). Same goes for Don Dixon ( Marti Jones, Chris Stamey, Tommy Keene, Smithereens, Richard Barone) , Steve Albini (Pixies, Nirvana, PJ Harvey), Steve Lillywhite (U2, The La’s), John Leckie ( Stone Roses, Radiohead), etc. Hopefully you get the idea. Sometimes a producer’s influence can make the purchase decision easier, although I note that few reviews mention a producer, unless it is Dangermouse.
4. A video. YouTube is among the greatest innovations in music. Why? Because now you can actually see an artist play live, and this for me is a huge influence in the purchasing process. Some artists make good videos but they are incapable of putting on a show that I would want to see. Perhaps its my growing up in Vancouver in the late 1970’s where the can-punk scene was huge. I attended hundreds of shows between 1977 and 1986 and this spoiled me forever. It is difficult to imagine the cognitive dissonance created in having experienced Dead Kennedys, D.O.A., Subhumans, as well as a steady stream of British acts including XTC, Echo & The Bunnymen, Gang of Four, Stranglers, Clash, Buzzcocks, Jam, Siouxsie and the Banshees, Police, and American acts including the Cramps, Minutemen, Toxic Reasons, Replacements, Plasmatics, and Husker Du and then try to experience a Tom Petty show, which I did, regrettably. I loved Tom Petty and The Heartbreakers ( Released November 9, 1976 containing the songs “Breakdown” and “American Girl”, but the record did not translate well live because Tom Petty puts on the absolutely most mind-numbing and boring live performances ever. YouTube cures this problem. However, as noted in these notes, live performance is just a fact to the equation, because some great songs are recorded by bands that should never perform live. See Tom Petty above.
4. What record label is the artist on? This information used to be terrifically helpful, but now, not so much. As self-released and self-funded (or crowd funded) releases now start to predominate the market label associations are becoming relatively meaningless. I mention the importance of the record label as another excellent fact for PIP, because I would be remiss to dismiss the influence of some great record labels that were remarkably consistent, some for a very lengthy period of time. Often, I would purchase an album just because of the label. Just as Blue Note is the touchstone for Jazz, Stiff Records, Sympathy For The Record Industry, Sub Pop, Car, Rough Trade, XL Recordings, Touch and Go, SST etc., represent (ed) classic punk, indie, and alternative records, and you could buy a record just because it was on the label. I note however, that many of even these labels are now either extinct, have expanded the range of their releases and therefore are not as consistent in quality, or owned by the few remaining major labels, and ascribe to a different perspective as a consequence ( make more money). I haven’t dropped label as a requisite item of information, but as time goes on, I fear this information will be less relevant for PIP.
So there you have it – not a lot of information is truly necessary to discern good from bad or potential interesting from not so much. I would add that sometimes you like a particular reviewer, and will go along for the ride, but even in my case, some winners could be losers in your mind. So, tread lightly my friends, and if I don’t update before the end of the year… happy holidays.
Here is this month’s list: (Also, I know about the numbering issue – I’ve tried to fix it, but WordPress #$^ stuff up. It took me an hour to get things to line up. As for the numbers, I’ll have to wait for another time.
1. Go Violets – Heart Slice EP (Brisbane popsters channeling Breeders/Belly.)
Try: “Teenager,” “Josie,” and “Beside Me.”
Iron Chic – The Constant One (Long Island punk rock super-group claiming Gaslight Anthem territory – you’ll love it’) Try: “Sounds like A Pretty Brutal Murder,” “What Ever Happened to The Man of Tomorrow,” and “Bogus Journey.”
Chumped – Chumped EP (Slacker Superchunk channeling female fronted Brooklynites sing catchy as F… songs about…..feelings.)
Try: “Someday,” “Eleanor,” and “Something About Lemons.”
Sky Ferreira – Night Time, My Time (Model Sky actually can sing and gets it right – well-crafted electro-pop in an Annie Lennox light way.)
Try: “24 Hours,” “Nobody Asked Me (If I Was Okay),” and “I Will.”
Super Best Friends – Handshake (Canberra 3 piece party synth garage punk rock with headbangin’ appeal! Shouting choruses!)
Try: “Karma Karma,” “No Logo Is A Joke,” and “The Bleachers.”
Davey Lane – The Good Borne of Bad Tymes (Aussie You Am I guitarist debut EP a throwback to mod influenced shoegaze with power pop elements.)
Try: “You’re The Cops, I’m The Crime” (Awesome single!) “Sinking May,” and “You Got Me On Side.”
The Proctors – Everlasting Light (exceptional sunny jangle pop from Gavin Priest led trio – has perfected the Game Theory/Windbreakers sound.)
Try: “Trouble With Forever,” “Perfect World,” “Ember Days.”
Caseworker – Voices Out There (4th album from San Francisco based garage dream pop trio with boy girl vocals who explore inner ambient/minimalist textures.)
Try: “Voices Out There,” “Ultramarine,” and “Dependence Day.”
Upset – She’s Gone (former Best Coast/Vivian Girls drummer Ali Koehler led all girl trio produce energetic fuzz laden 90’s influenced pop punk echoing Koehler’s past and the gooeyness of the Ramones.)
White Hills – So You Are… So You’ll Be (8 years and 7 albums in band perfects haunted Hawkwind space rock – garage psych with light fuzz. Prepare to be blown away.)
Try: “In Your Room,” “So You Are… So You’ll Be,” “Forever in Space (Enlightened).”
Chills – Somewhere Beautiful (NZ Indie pop legends and sound originators with a live return (as a five piece) playing the hits at private party on New Year’s Eve 2011 in Central Otago, N.Z. )
Try: “Heavenly Pop Hit,” “Soft Bomb, Part One,” and the hauntingly lovely “Submarine Bells.”
Less Than Jake – See The Light (Veteran ska punkers make a return with first LP in 5 years – and its good)
Try: “My Money is on the Long Shot,” “Do the Math,” and “Sunstroke.”
Dead Gaze – Brain Holiday (Missisippi’s Cole Furlow’s project is lo-fi garage based fuzz pop in the same vein as Ty Segall with groovy hooks to make you smile.)
Try: “Yuppies Are Flowers,” “Stay, Don’t Say,” and “Possible Embrace.”
Wild Child – The Runaround (Austin-based group led by the husky voiced Kelsey Wilson and Alexander Beggins’ sophomore effort finds success in folk influenced indie pop, unfortunately a little overproduced, but some catchy hooks right the ship.)
Try: “Victim to Charm,” “Living Tree,” and “The Runaround.”
Roman Candle – Debris (Chapel Hill N.C. fourth LP changes pace with a darker guitar pop record featuring a rarity – some strong lyrics. Beautiful sounding album.)
Try: “End of the Street,” “Nowhere to Start,” and “Not Strangers Anymore.”
Sadies – Internal Sounds (Canadian desert rockers still evoking their Byrds and Band with all the jangle that means on their 16th album.)
Try: “The First 5 Minutes,” “Starting All Over Again,” and “Leave This World Behind.”
Straightaway – Last Exit To Nowhere (straight forward no fills skate punk from France.)
Try: “My Own Demise,” “Last Exit To Nowhere,” and “Right Choice, Wrong Feeling.”
Blue Rodeo – In Our Nature (Canadian alt-country legends edge closer to their Band roots with a beautiful but very dark folk rock record – 13 is a lucky number.)
Try: “New Morning Sun,” “In Our Nature,” and “When the Truth Comes Out.”
Minor Alps – Get There (Blake Babies + Nada Surf = sweet folk harmonies – Juliana Hatfield and Mathew Caws.)
Try: “Far from the Roses,” “Mixed Feelings,” and “Waiting for You.”
Alex Lloyd – Urban Wilderness (Very catchy Aussie sing-a-long folk pop that’s punchy with this 6th album as good as his award winning first, 2002’s Black the Sun.)
Try: “Waterfall, “Black Cat” and “Turn the Light On.”
Templeton Pek – Signs (melodic punk rock from Birmingham England in vein of Billy Talent,Rise Against (with whom they toured in 2011) still retaining some metal edges.)
Try: “Who We Are,” “Slow Burn,” and “Signs.”
Radical Face – The Family Tree – The Branches (Ben Cooper recording under Radical Face moniker 2nd LP of trilogy traverses Death Cab For Cutie indie/alt-folk territory – successfully.)
Try: “Holy Branches,” “Reminders,” and the pastoral “Summer Skeletons.”
The Sounds – Weekend (5th album from Swedish dance party rockers contains classic (Blondie) elements of the Sound’s past while showing a little more risk with a couple of indie pop efforts. Gotta love Maja Ivarsson’s vocals which are gruff sweetness.)
Try: “Hurt the Ones I Love,” “Shake Shake Shake,” and Weekend.”
Gary Numan – Splinter (Songs From A Broken Mind) (20th release, Goth electro-robot’s triumphant return.)
Try: “I Am Dust,” “Splinter,” “Everything Comes Down to This.”
Curbside – The Sound I Know (2012 release, Canadian throwback 90’s pop-punk rock in same vein as Overwhelming Colorfast.)
Try: “54 Queen Street South,” “For Those Left Behind,” and “Saving Face.”
Alex Chilton – Electricity by Candlelight (Alex illuminates genius through impromptu cover set recorded at Knitting Factory NY 2/13/97 after power outage cancels second show.)
Try: “Surfer Gril (Beach Boys)” “Solar System (Beach Boys),” and “My Baby Just Cares for Me (Nina Simone).”
Lovespoon – Carious Soul (Italian (Ravenna, Italy) Green On Red meets Alex Chilton – loads of reverb.)
Try: “Anyway,” “Carious Soul,” and “Another Pale Moon.”
Twin Forks – Twin Forks EP (Boca Raton FL based Dashboard Confessional singer Chris Carrabba’ folk rock project – and its good.)
Try: “Back To You,” “Cross My Mind,” and “Can’t Be Broken.”
Craft Spells – Room 205 Session EP (Stockton California’s regrettably too short Cure influenced lovelorn indie electro-pop – beautifully crafted.)
Try: “From The Morning Heat,” “Party Talk,” and “Love Well Spent (Live at MFNW).”
Loon Lake – Gloamer (Melbourne brothers led five piece command indie surf pop and channel Weezer and INXS.)
Try: “City Lights,” “Cherry Lips,” and “Carolina.”
Swearin’ – Surfing Strange (Second LP from Brooklyn’s Allison Crutchfield and Kyle Gilbride co-fronting the Pixies (a little bleaker without the howl))
Try: “Dust in the Gold Sack,” “Watered Down,” and “Loretta’s Flowers.”
Moistboyz – V (Dean Ween‘s post Ween heavy punk -metal band with heavy debt to Billion Dollar Babies (Alice Cooper’s backing band on the classic albums) and the Beat Farmers – @#$%@#% awesome! NSFW.)
Try: “Paperboy,” “Chickendick,” and “Protect And Serve.”
Future of The Left – Human Death EP (See #56. Andrew Falkous led Cardiff Wales alt-punk rockers synth punk EP follow up to amazing 4th LP.)
Try: “Not Entirely Present,” “The Knife That Is Not A Knife,” and “Not Entirely Present.”
Young Knives – Sick Octave (Mercury Prize-nominated Leicestershire indie rock trio kickstarter funded 4th LP indie-synth noise pop with Cabaret Voltaire leanings and David Bowie/Byrne vocals.)
Try: “We Could Be Blood,” “Marble Maze,” and “Maureen.”
Wooden Shjips – Back To Land (Velvet Underground inspired 6th album from San Francisco based psychedelic drone rockers emphasize their 60’s influences all to great effect.)
Try: “Back To Land,” “These Shadows,” and “Everybody Knows.”
White Denim – Corsicana Lemonade (Southern boogie indie rockers 6th LP finds the perfect balance between the 70’s (Allman Brothers) and today)
Try: “New Blue Feeling,” “At Night in Dreams,” and “Pretty Green.”
Western Lows – Glacial (ex-Mezzanine Owls front man Jack Burnside, with help from friends Michael Stipe, Azure Ray’s Orenda Fink, and Andy LeMaster produce an excellent shoegaze Bon Iver record with Echo & The Bunnymen elements)
Try: “Last Known Rivers,” “Lazy,” and “Grapevine.”
We All Want To – Streets of Your Town (Single) (catchy single from another Brisbane Australian band finding comfort in the sound of Michael Stipe fronting Let’s Active/ Go-Betweens. LP is great too!)
Try: “Streets Of Your Town,” and “We’re Not Perfect.”
TV Ghost – Disconnect (Lafayette Indiana’s shoegaze Joy Division meets Echo & The Bunnymen in haunting post punk epic.)
Try: “Veils,” “Others Will Be Born,” and “Dread Park.”
The Toddlers – The Toddlers (Baritone vocalist Nathan Tobin’s Carrboro NC, Mitch Easter recorded, Americana post punk influenced desert rock meets Pavement with the National’s Matt Berringer sound-a-like.)
Try: “You Can Keep The Wheels,” “Who Is The Kingdom,” and “Little Man.”
Smallpools – Smallpools EP (Vocalist Sean Scanlon’s Phoenix meets Grouplove/Imagine Dragons indie-pop.)
Try: “Dreaming,” “Mason Jar,” and “Over & Over.”
Polar Bear Club – Death Chorus (less howling and decidedly more poppy version of this terrific upstate New York punk rock band in transition – still rocks hard.)
Try: “Blood Balloon,” “When We Were College Kids,” and “Upstate Mosquito.”
Mystery Twins – Ghost In The Ground (Nashville rockers singer-guitarist Doug Lehmann and drummer Stephanie Brush produce garage rock kissed by X, the Everly Brothers and the 60’s.)
Try: “The World Within,” “Your Heart Won’t Let You Down,” and “Mary.”
Love Junkies – Maybelene (Perth Australia trio funnels Jet through the White Stripes traversing no new ground but rocks like a mother*&&$$.)
Try: “Oxymoron,” “Hurt You,” and “Maybelene.”
John Steel Singers – Everything’s A Thread (Aussie angular and jangly indie rockers with Beach Boy harmony flourishes achieve perfection.)
Try: “Common Thread,” “The Marksman,” and “Everything’s A Thread.”
Connections – Body Language (3rd excellent 2013 release from scrappier Columbus Ohio GBV indebted lo-fi rockers who actually write better songs)
Try: “Aimless,” “She’s Cheering Up,” and “Jeni and Johnny.”
47. Day Ravies – Tussle (Sydney Australia quartet wear proudly their Kink’s/ Velvet Underground/ Sonic Youth influence on their Jesus & Marychain shoegaze sleeve)
Try: “Double Act,” “I Don’t Mind,” and “Staring Is Caring.”
Anna Calvi – One Breath (Sophomore release from the biggest thing since Patti Smith according to Brian Eno with powerful soaring nuanced vocals utilized to spectacular operatic quality effect.)
Try: “Suddenly,” “One Breath,” and “Carry Me Over.”
Ty Segall – Gemini (Demos from 2012 Twins LP sessions for vinyl only release.)
Try: “Would You Be My Love,” “Gold On The Shore,” and “Ghost.”
Entrance Band – Face The Sun (turbulent history California psych prog rockers return to the program with trippy moody LP )
Try: “Fire Eyes,” “Spider,” and “Night Cat.”
Georgia Fair – Trapped Flame (Jordan Wilson and Ben Riley, Sydney-born, now Melbourne-based duo mine travel to L.A to produce 2nd LP full of Americana flavored inspired alt-country rock (BoDeans).)
Try: “Love Free Me,” “Plain Girls,” and “Someday Soon.”
Jake Bugg –Shangri-La (2nd LP containing more of the same up-tempo rockabilly tinged folk rock as his debut. Carry on lad – what you are doing works.)
Try: “What Doesn’t Kill You,” “Messed Up Kids,” and “Kingpin.”
Songs: Ohia – The Magnolia Electric Co. (Late Lorain Ohio musician Jason Molina masterwork reissued ala Death Cab for Cutie acoustic.)
Try: “I’ve Been Riding with the Ghost,” “Almost Was Good Enough,” and “Farewell Transmission.”
Spiderbait – Spiderbait (9 year hiatus over for band together for a quarter century. Best known in U.S. for Ram Jam “Black Betty” hit cover, these Aussie alt rock legends return with explosive propulsive electro-hard rockin’, banger of an album.)
Try: “It’s Beautiful,” “Supersonic,” and “What You Get.”
Swellers – The Light Under Closed Doors (Flint, Mi. Diener brothers return solid effort of well-crafted mature pop punk with sad feel.)
Try: “Should,” “Got Social,” and “Big Hearts.”
Future of the Left – How to Stop Your Brain in an Accident (4th album is best punk rock record of the year, diverse, humorous and Johnny Lydon inspired vocals.)
Try: “Johnny Borrell Afterlife,” “She Gets Passed Around at Parties,” and “Why Aren’t I Going to Hell.”
Fuzz – Live In San Francisco EP (It’s Fuzz. It’s Ty Segall. What more is there to say?)
Try: Them all.
58. Hedley – Wild Life (Canadian pop rockers with hooks to spare, “Anything” subversively brain coma inducing.)
Try: “Anything,” “Beautiful Girl,” and “Dreaming’s For Sleeping.”