Sad week in America. COVID-19 deaths are increasing, George Floyd’s senseless death, and violent protests against police brutality exposing a systemic failure of leadership and a nationwide culture of racism. All this is against a backdrop of civil unrest, looting and destruction in many cities across America demonstrating just how thin the line between good and evil is in this country. The politics of outrage will not be a satisfactory response to the wounds of racism ripped open this week and then poked at by the occupant of the White House. Regardless of your political affiliation, you should certainly be able to see the injustice perpetrated against Black America and institutionalized in the militarized police force against all persons of color. Certainly you should be able to recognize that George Floyd’s death was morally wrong. He was murdered by a police officer and three others watched and failed to intervene. Black lives do not matter to the police as currently constiuted in cities across the nation. The data is shocking and disturbing. Police violence is not isolated.
As this week’s George Floyd protests have spotlighted, police violence is endemic and it is multi-generational. NWA’s “Fuck tha Police” (August 9, 1988) was not the only song pointing out the obvious 32 years ago, the Dead Kennedys, eight years earlier than that identified the police as a criminal gang in “Police Truck” (May 1980). “Police Truck” was inspired by an incident in Los Angeles in the late 1970s in which two police officers performed illegal activities such as drinking on the job, beating up drunks, and raping prostitutes. A similar incident was documented recently in 2017. Obviously, I do not have the answers but I have to believe that answers do exist and are out there to be adopted. A recent report issued by the U.S. Commission on Civil Rights entitled “Police Use of Force: An Examination of Modern Policing Practices” might be a good place to start.
I think I’m getting the hang of this. Tales From The Drop Box 149 contains the perfect song mix. Not really. I am playing a bunch of songs that I think you’ll like and perhaps if enough of you spread the word, then these songs will find a new life – long after I am gone. It is truly unfortunate that so few people will actually discover the genius in these artists, many who will call it a day before their genius is discovered. Not all of the tracks in this show are genius…that is not the point. Rather, I’m playing some songs I believe in, for any number of reasons. None are perfect (except perhaps the Otoboke Beaver track). Perfection is not the standard for rock n roll. Give these tracks a chance, buy an album, spin the record, and be transported.
As always, crank this mother up. Music is for feeling, not just listening.
Here is what you’ll find in Episode 149:
Your’s Truly – “Circles” (Afterglow EP)
Mozes & The Firstborn – “Sad Supermarket Song” (Dadcore)
Stiff Little Fingers – “Each Dollar A Bullet” (Flags & Emblems)
Otoboke Beaver – “I’m Tired Of Your Repeating Story” (Itekoma Hits)
Each dollar a bullet each victim someone’s son and Americans kill Irishmen
as surely as if they fired the gun . . . .I cannot help but feel a tremor
when I buy oatmeal at the store because the radio is jammin’ . . .
Slowly I’m catching up. In this month’s dropbox are some very outstanding releases highlighting a very healthy alt-indie-punk scene. As this is the only place you will get to hear much of this music (albeit there are a few albums on this month’s list which I dare say might actually make it on to commercial radio such as the new Imagine Dragon’s and Airborne Toxic Event LPs and perhaps the Noel Gallagher album), grab what you can early as you can as I have another fresh month of great tunes ready to roll right behind this one. I have divided this months Dropbox Notes into a couple of sections – notes, editorial, and then music – to shortcut the process so you only have to read what you want to read, eh?
Important Note : Concerts at the VFW in Monrovia (825 S. Magnolia Ave, Monrovia CA) beginning March 13, 2015
One note of interest (both for me and for you): If you are in the Monrovia (California – not Liberia) area this week on Friday March 13 – drop by the VFW for the first of a series of local shows featuring Monrovia’s own Jurassic Shark as well as Shaman Cult, Wild Wing and Gold Vine. I am the promoter of these shows with a couple of local buddies. We are attempting to start a truly local scene in the San Gabriel Valley and this is the first show in what we hope to be a series of shows.
Our second show is Friday March 27, 2015 at the same location. Bands to be announced. Stay tuned!!
Editorial: How to really F%$& Up a good thing as demonstrated by KROQ.
As I have observed over time, there are rarely better examples of how to not handle change than are easily found in the music world. The most recent spectacular example, is KROQ’s handling of the terminations of Lisa May and Doc on the Roq from a morning show which they were both integral characters. What I will miss is Lisa’s sunny disposition and steady performance as straight person to the comedy attempts of the other participants in the program. I enjoyed the actual sound of her voice in the mornings because of its tone. I have listened to portions of the program each morning since the beginning of the program – the name of which is no longer important because after the terminations I know longer listen to the yak asses who remain involved – although I will say that the name hosts did much better, post termination, to explain the rationale, than Ralph Garman who came off as arrogant, obnoxious, and self-righteous in his defense of the change.Lisa and Doc – you were great and I hope you land somewhere that appreciates your distinct and special skills.
Poorly handled by all though, which frankly is inexcusable. 18 years of employee loyalty terminated in a single day. The station lost me as a listener although to be fair I haven’t listened much for several years as the music on KROQ is just plain repetitive and boring and what I have observed previously remains true – they are not really focused on new music. REALLY – STOP playing the Red Hot Chili Peppers – Foo Fighters too!.
So, on the theory that change is a good thing, I believe that the late observation of the program to make changes to freshen up a show that has become somewhat stale was actually astute – but I would have terminated Ralph and slipped someone into his slot – someone who truly loves entertainment rather than Ralph who spends most segments shamelessly and constantly self-promoting his own out of studio activities.
I am going to miss Doc whose distinct 1 minute news style was all its unique own and of course, Lisa May who was erudite in a sea of rather unfunny lemmings.
So, with that observation, now to the part that really matters, the Music
A couple of live offerings to start things off this month’s Tales Form The Dropbox:
You just have to love Ty Segall. Prolific, talented, unpredictable but always interesting, Live in San Francisco documents a blistering show recorded as part of Castle Face Records Live in San Francisco series. Look back and find the OBN III’s show in an earlier dropbox). This is a terrific example of a Ty Segall show with all loud guitars, fuzz, psychedelic roar, and Ty’s distinctive vocals holding the fun together. As the label accurately describes, this is the Ty Segall Band “captured during two nights in San Francisco at the barely-pushing-medium sized venue The Rickshaw Stop. Rowdy crowd, meet stacks of amplifiers – Ty, Charlie, Mikal and Emily came to singe your ears off.” Duly noted! Try “Feel” (off the new record Manipulator), “Slaughterhouse” and “Whats Inside Your Heart.”
Going on the theory that you cannot have too much of a good thing and when it is Devo there is never enough, Devo – Hardcore Live! captures Devo paying tribute to Bob Casale (“Bob 2”) who had passed away last year performing tracks written in Devo’s infancy between 1974 and 1977 on last years ten-city “Hardcore Tour.” Released as a DVD, this live album recorded at the Oakland Coliseum captures the frenetic energy of Devo’s earliest recordings many of which date back to the basement in Akron where they were recorded and only having been previously released on the Hardcore albums. So, on Hardcore Live! these nascent tracks are now all cleaned up and played with vigorous energy and love. For me, the live reexamination of these demos and early versions makes their inclusion in the overall record of devolution significant. No real picks here as I like them all, but you should check out the terrific versions of “Uncontrollable Urge,” “Jocko Homo,” and of course “Satisfaction.” (Honestly, at this point in my life when I think of this song, I no longer can recall how the Stones version actually sounds). Stiff Little Fingers is Still Kicking. Not really kicking much lately, but if you are reading this entry Jake Burns – now would be an excellent time for a new LP to be released. Notwithstanding that this is a retitled reissue of an earlier SLF live release entitled At The Edge it is a very good introduction to my favorite band of all time. Recorded at the Ocean, in Hackney England on October 9, 2004, Still Kicking is an example of the SLF hit machine firing on all cylinders. Truly one of the greatest live shows I have ever witnessed, Jake Burns is the consummate showman and the kinetic energy of the shows makes for engaging and compelling listening. These are the hits performed by the one band that should be in everyone’s record collection. For me after more than 30 years I have never tired of any of these songs and the album is a refresher of why SLF and these classic punk songs made such an impact. As with Devo above, try them all, but if you force me to pick the best of this specific show, then try “Barbed Wire Love,” “Fly The Flag,” and “Suspect Device.”
Finishing up the live portion of these dropbox notes, a couple of Guster shows that demonstrate the power of Guster’s songwriting compiled into a box set. Last month I dropped the excellent new album, Evermotion, but these three shows highlight what makes Guster special as a band as they play three earlier records from their lengthy career, in order, live at various venues. Guster performed their 2003 album Keep It Together at New York’s Beacon Theatre on November 30, and recreated their 1994 debut Parachute live during a matinee at New York’s Brooklyn Bowl on December 1. Ben Kweller, who appears on Keep It Together, also appeared at the Beacon theater show. According to the band: Keep It Together (released June 2003)
The day we released KIT, we played a free concert in Boston’s Government Center. Introduced by Mayor Menino as “Goose-ter”, the audience was a massive sea of nearly 50,000 heads. We played every song double speed and stayed into the wee hours of the night autographing hummingbird after hummingbird for whoever waited in line. The next morning I opened up the band’s email inbox, expecting to be inundated with love, and was shocked to find like, no new messages. People were still digesting that this album was a real departure. A transitional album, in the context of our musical history, we feel pretty good looking back at what we created now, and so many people have told us it’s their favorite Guster album. While the front half was tighter and more pop, the back half unleashed a new, more experimental side for us. But every last song on that album still feels relevant, and we’re excited to celebrate it, from “Diane” to “Two at a Time”, at the Beacon Theater. Parachute (released May 1994)
People thought we’d never do this, but we’re doing it, and we’re doing it at 2pm in a bowling alley. We were juniors at Tufts playing in a band called Gus when we first put out this album. The cd release party was at a dining hall, and someone in the crowd let off a sulfur stink bomb during our set, which still pisses me off nearly 20 years later. While many of the songs on this album have fallen out of favor in the live set, we appreciate that for a lot of our oldest fans, this was what hooked them. And for three kids who were recording between midnight and six am at Q Division studios in Boston while racking up incompletes in our classes, the album sounded better than we could have ever imagined at the time. Most copies of Parachute were sold out of a guitar case while busking in Harvard Square in the mid-90s, and there are 4000 existing copies where the band was GUS, not GUSTER. Those are worth between 10 and 12 dollars on eBay.
Terrific stuff. If you’ve never heard Guster before, then this is a good chance to find out what makes them special. No favorites here as well, they are terrific records studio and live. My favorites, you query?
Try: “Jesus On The Radio,” “Barrel of a Gun,” and “Dissolve.”
In a similar vein (musically at least) is Ben Lee. With a new album coming out next month and a new label (Warner’s) Australia’s Ben Lee encapsulates with Mixtape a career’s worth of splendid indie-pop confection bordering on perfection. According to Ben:
“This album began as an exploration of songwriting. I decided to write songs for different voices, and invite these singers to perform them. My dear friend Sam Spiegel (Squeak E Clean) offered to produce the record I had conceptualized, and we began working on the collaboration in earnest in 1998.
Over the next 6 or 7 years we continued to record intermittently. All kinds of wonderful musicians came by and offered their help with recording. I should have kept better notes during the sessions but I know you can hear Eric Gardner, James Valentine, Rusty Logsdon and Alfredo Ortiz amongst many others. I am grateful to everyone who played a part in these recordings, large or small, remembered or forgotten. For some years these recording just sat on my hard drive. I have always loved the recordings, but life moved me in other directions and distractions, and the release of the “Mixtape” recordings were temporarily shelved.”
However, in order to assist a charitable cause, he released Mixtapes to raise funds and the results are stunning. I dare you not to fall in love with “You’re The Reason (feat. Zooey Deschanel) who I realize now is a far better singer than actress.
So, if you love pop music try Mixtapes which is a very good collection of songs, but for my money try: “You’re the Reason (feat. Zooey Deschanel),” “Turn Back Now (feat. Azure Ray),” and “You Confuse Me (feat. Ian Ball).”
A couple of reissues of note this month in the dropbox. First up are the two releases from Jellyfish, much appreciated by me and much missed as well. I have dropped in various releases over the years related to Jellyfish, but Bellybutton and Spilt Milk represent the only official releases in the short history of the band. These remastered deluxe editions feature a staggering 51 bonus tracks consisting of various demos and live recordings. Jellyfish’s debut, Bellybutton, was released in 1990 and the follow up Spilt Milk in 1993.
Produced with the participation of original members, Andy Sturmer, Roger Joseph Manning Jr., and Jason Falkner from Jellyfish these reissues round up everything you could ever want from the band. However, in exploring these reissues, I would suggest listening to the original albums as released first before digging into the cornucopia of extras. The exploration of the extras is rather exhaustive and in some places repetitive. However, for a two record career, Jellyfish produced two titles that demonstrate that the 90’s was not all grunge and nu-metal. Remarkable consistent and immediately likeable, Bellybutton and definitely worth a listen. Try “The King Is Half-Undressed,” “Calling Sarah,” and “The Ghost at Number One.”
The Go-Betweens, like Jellyfish, were also a musical anomaly, oh, and also Australian. G Stands for Go-Betweens: Volume 1 1978-1984 collects the chaotic early period of the career of Robert Forster and Grant McLennan (who died in 2006) which was largely overlooked (although not by me as I collected the releases during this period) and not commercially successful because at the heart of their genius was that they produced great singles but their albums were not considered great at the time. Not coincidentally then, you should likely start your exploration of this box set with the First 5 Singles in this 8 disc box set. After the taster set, try my favorite album, the excellent second album 1983’s Before Hollywood, then skip to their debut, Send Me A Lullaby, and then next listen to Spring Hill Fair. From there, you are on your own. This is a great compilation highlighting releases that attracted zealous fans worldwide but in the mainstream stands largely overlooked. Sad, really, because buried in these records are some classic songs that are impressive today. To be clear, I am not saying that everything here is gold – there are some obvious warts and bumps in the catalog, but who am I to judge (not intended to be an ironic statement). Try “Two Steps Step Out,” “Careless,” and “Bachelor Kisses.” Also reissued is Leftover Crack’s last record, now 10 years old, the exceptional Fuck World Trade which is a mix of classic NYC Hardcore and ska that left an indelible mark on me when I first heard it. Leftover Crack achieved on this release what few bands during this period were able to accomplish – an intelligent (although the views expressed are somewhat over the top cartoonish radical) blend of punk, hardcore and ska with touches of metal blended into a truly classic sound. Defiantly different – Fuck World Trade is a punk rock masterwork. Even the covers and additional tracks add to the original album fit seamlessly on this reissue. If you’ve never heard of Choking Victim before today, the two covers included here are better than the originals – tight and speedy – perfectly transforming the songs into Leftover Crack essentials and making you forget the originals. Try “One Dead Cop,” “Apple Pie and Police State,” and the lengthy “Soon We’ll Be Dead.”
Still hanging out in the punk world, is Title Fight’s whose latest, Hyperview continues a string of excellent punk rock releases. Hanging out is an inaccurate descriptor of Title Fight’s sound or songs. Rather, Hyperview marks the logical progression of a band whose earlier work was a potent mix of pop punk and bouncy guitars, now directly focused on a more angular guitar attack that is sonically superior, still melodic, and is more akin to post-punk than the pop punk of the early years. This is a powerful listening experience, and I have only one small nag – the mix buries the vocals a little too deep in the sonic wash, but overall its still Title Fight, a little more mature (is that a negative?) but a study in blending power and melody. Try “Mrhac,” “New Vision,” and “Liar’s Love.”
Missed entirely by those in the know (you know who you are!), is the debut from Beaumont Texas 3 piece Purple, who has managed to capture what has been missing lately from traditional rock – energy. This is a mix of the White Stripes, the Strokes, Jet, and a Brodie Dalle sound-alike for a singer, making for an eclectic mix of boy (guitarist and vocalist Taylor Busby) and almost girl vocals (drummer and vocalist Hannah Brewer) that drives this record. The White Stripes influences are felt most strongly on tracks like “Leche Loco” where the vocals could be Jack White, but there is something much more interesting going on here. More modern reviewers will point to those bands as the touchstone ( I get it – female drummer means it must be a White Stripes cover band) but the sound on (409) is really derived from the Led Zeppelin song book and it is all good. Modern flourishes on a classic rock foundation with maximum riffage doesn’t disappoint. As a change of pace, this is an excellent record. I promise you’ll love something on this record. They are on a massive tour of Europe, so if they eventually get over to this side of America, try to catch them live. Try “Beach Buddy,” “Target,” and “Head On The Floor.”
Now on the other end of the sonic spectrum is Teen Daze’s latest A World Away. For those who will listen to this record and are familiar with my tastes for punk rock and indie pop, you will obviously say upon first listen – what the F#$^? This is an electronic instrumental record and entirely outside of my usual musical comfort zone as I’m not a huge electronic fan. I was actually caught off guard by A World Away, because the melodies and the massive sound collage created in each song are very effective. Remarkably diverse for an electronic record and never boring, the songs created images. A refreshing way to look at music. Not an everyday experience for me, but as a one-time event, I’ll come back to listen to this. For example, “Reykjavik, January 2015” actually reminded me of those morning walks in the bush behind my house in Whitehorse, YT as a teenager. Remarkable. Try “Reykjavik, January 2015,” Sun Burst,” and I Feel God In The Water.”
Let’s get back on track, eh? One of my favorite records of the year so far is Amherst Massachusetts California-X’s Nights In The Dark which steps away from the obvious Dinosaur Jr. comparisons on its debut release into new territory by dialing back the 90’s fuzz and distortion into the more pleasant Overwhelming Colorfast variant. California-X still manages to be powerful on Nights In The Dark and this is still an alt-rock record (think Pavement and Meat Puppets) but not a 90’s throwback as much as a 2015 update including those sounds. There is much to like about the variety and the catchiness of the songs on Nights In The Dark and it doesn’t all work for me (for example “Ayla’s Song,”, huh?) but I don’t fault the band for trying to push their sound in new directions. Exploration is good. Try “ Hadley, MA,” “Nights In The Dark,” and “Summer Wall Pt. 2.”
Next up is the band I consider to be the best traditional rock band (yes, I said best!) on the planet. I’ve been hooked on Danko Jones since I first heard “Lovercall” and if you can get over the obvious Kiss references (when they were still good i.e. prior to 1979), then Danko Jones is the sole occupant of the sweet spot of rock and roll. Danko Jones is remarkably consistent for the past 15 years. As a 3 piece, Danko Jones is the real deal as a traditional power trio. Fire Music, the bands 7th comes out April 21 and continues the tradition of the exploding drummers with new drummer Rich Knox behind the kit. At last count I believe that Rich is the 7th Danko Jones drummer. Perhaps it’s the in your face mix of Ramones and Kiss, but Fire Music is a solid record throughout. Miss this and you are missing out. Try “Body Bags” (reminds me of D.O.A.), “Gonna Be A Fight Tonight,” and the awesome (difficult not to smile throughout this) track “Do You Wanna Rock.”
Moving to the other side of the ocean (I bet you thought I was going to write “pond” but I’ll get to Pond next) is the distinctly British take on rock and roll in the form of Carl Barât & The Jackals debut Let It Reign. The obvious point of reference for comparison is the Libertines which will end up in every review – somewhere. It is hard not to make such comparison as the Libertines were among the best punk bands of all time – mixing rock n roll excess with British punk and tabloid behavior perfecting the appearance of genius disaster. While Pete Doherty gets the cred – dated Kate Moss din’t he? – Carl deserves equal credit for that band’s success and spectacular failings. Now as the Libertines try to thrash together new material, Carl’s latest with a new band, the Jackals, is a solid rock album, that took me a couple of listens to find the gems buried in its contents. I can see how the Clash echoes throughout the record and for me that’s not a bad thing. You’ll get the obvious Clash references from the very first track, “Glory Days” but as I indicated at the beginning, the Clash are the obvious reference point for traditional British Rock. Taking off from that touchstone, the album is powerful, furious at points, the songs have a direct oft times angry punchiness and there is a determination in the vocals making for a great listen. Try “ A Storm is Coming,” “War Of The Roses,” and the Buzzcock’s like “The Gears.”
Now we should discuss Pond. Australia (again) has a better grasp on the hippy, trippy, psychedelic with a nod to the goofiness of rock music. Sharing members with Tame Impala, Pond is a being unto its own mixing on this record more synth and dance rhythms into its sonic stew but retaining the psych-rock leanings of earlier outings. Six albums into a career, this, for me, is their best record as it notches up the fun, keeps things still a little weird, but the most relevant tidbit is that it still rocks hard for as much synthesizer as there is on this record. Clap your hands and sing along to “Elvis’ Flaming Star,” “Outside is the Right Side,” and “holding Out For You.”
Jessica Pratt’s latest On Your Own Love Again is a home recorded lo-fi acoustic affair that is remarkable in its simple complexity. On Your Own Love Again is Jessica’s voice mostly accompanied by acoustic guitar filled with songs that are complex in both vocal delivery and songwriting. Jessica’s vocals integrate beautifully with the rich guitar and on On Your Own Love Again, her second effort, the songs present both feeling and color. This is an album that demands listening and the effort is rewarded with a thoroughly pleasurable listening experience. Again, not normally my thing, but change is good. Try ” Game That I Play,” “Greycedes,” and “Back, Baby.”
A different approach to the singer-songwriter dynamic is Nashville’s Natalie Prass’ self-titled debut effort. A former backup vocalist for Jenny Lewis, and now on tour with Ryan Adams (which is how I came to find out about this gem) Jenny Prass creates a pleasurable listening environment for some very well written songs. The band is tight and showcase Natalie’s obvious vocal skills. These are powerful vocal performances but still delicate (if that somehow makes sense) and all these tracks are both charming and interesting – a perfect blend. Try “Why Don’t You Believe In Me,” “Birds of Prey,” and “My Baby Don’t Understand Me.”
I have repeatedly and often highlighted my love of Australian bands, but it should also be obvious that Canadian musicians are the spine in my book of awesome bands. (See Danko Jones (Toronto) above). Calgary based Woman were an awesome band until an on-stage fight broke up the band and the tragic death of guitarist Chris Reimer in 2012 took the band with it forever. It seemed like the remaining members would seek an entirely different musical path following Women’s unfortunate demise. Not so fast. Dissolving the band and reforming with two members of Woman in 2013, Vietcong incorporates obvious elements from Woman’s prior outings, particularly from the Public Strain LP and specifically the “cold” feeling created by the dissonance on the record. In 2013, the release you are now listening to was put out as a “tour only cassette” by the band as a kind of introduction to Vietcong. the songs on the Cassette EP are warmer by a few degrees than Woman, but more importantly, they also represent a significant sonic departure. Their label has cleaned up the original recordings and the new version of the Cassette EP makes the bridge to the new record released in January more obvious. For me, as I saw Bauhaus play live in 1981, the live cover of “Dark Entries” sold me initially on the reconsituted and renamed band, but the rest of the tracks on this EP are essential. Try” Static Wall,” “Select Your Drone,” and “Dark Entries.”
New England’s Make Do And Mend have taken their sweet time in releasing their latest excellent effort Don’t Be Long. It’s been three years since their last album and one would think that Make Do And Mend‘s core audience would need a re-introduction. As you likely know, the music industry savagely discards bands at a greater rate compared with earlier decades. Don’t be worried – Don’t Be Long is going to be considered a classic punk rock record from this era 10 years from now. Sure, there are a few hick-ups along the way, but I prefer to think of them as beauty marks. This is thoroughly enjoyable pop punk with a harder edge and, like the Menzingers latest album, you will find your way back to this album again and often. Try “Sin Miedo,” “Don’t Be Long,” and “Begging For The Sun To Go Down.”
Chicago’s Knuckle Puck have returned with another in a series of what seems to be EP only releases with While I Stay Secluded. Released late in 2014 so it didn’t make the dropbox, Knuckle Puck leans more towards the pop end of the pop-punk spectrum and this EP is a great introduction for those who’ve not had the pleasure previously. Knuckle Puck have put together a complete package embracing the genre and figuring out how to take the lyrical themes common to this genre (alienation, isolation, success etc.) and restate them in an interesting manner. Start at the end first – Try “Bedford Falls,” “But Why Would You Care?, “ and “Transparency.”
Still on the east coast, Albany New York’s Drug Church second effort, Swell, is a too short taster of an EP. From beginning to end this is an in your face attack – raw and powerful and playing on the edge of punk rock and alt-rock at times. Nothing new to the genre but the clean sound and excellent musicianship remarkable offer enough to make this a winner. Try “Mail Swat,” “But Does It Work,” and “Zero Zero.”
I’d be remiss to not offer up reviews of LVL Up, Perfect Pussy,Hoodoo Gurus and Menace Beach but as I’m short of time, I can only say make sure you dig these out and give them a spin. The Waterboys, Purity Ring, St. Vincent and Imagine Dragons you should already know about. The year is off to a great start and although a few of the releases are from last year – they really shouldn’t be missed.
Before you go check out this month’s list below.
Live long and prosper. #Missing Spock
Ty Segall Band – Live in San Francisco 
Ben Lee – A Mixtape From Ben Lee 
Waterboys – Modern Blues 
Carl Barât & The Jackals – Let It Reign 
Twerps – Range Anxiety 
Title Fight – Hyperview 
Teen Daze – A World Away 
Sonny & The Sunsets – Talent Night at the Ashram 
Sidekicks – Runners in the Nerved World 
Purple – (409) 
Pond – Man It Feels Like Space Again 
Jessica Pratt – On Your Own Love Again 
Natalie Prass – Natalie Prass 
Jellyfish – Spilt Milk [Deluxe Edition] 
Jellyfish – Bellybutton [Deluxe Edition] 
Murder By Death – Big Dark Love 
Milo Greene – Control 
Mademoiselle K – Hungry Dirty Baby 
Knuckle Puck – Don’t Come Home 
Leftover Crack – Fuck World Trade (Reissue) 
Go-Betweens – G Stands for Go-Betweens, vol. 1 
Okay, so I have been off the grid for a while. Hopefully you’ve missed me, because I certainly have missed the interaction with you, each and everyone of you. Really, I think about the Starbucks gang quite a bit after having moved my office. Same goes for the Canadian group whom I missed this Christmas. C&K&J if you are reading these notes, I miss you always when you are not around. Maybe one day you’ll explore the dropbox and find out why I really love this type of music. Nuff’ said.
I also know that I was remiss in getting dropboxes and these notes out for the past couple of months, but life sometimes gets in the way of the music. Not that I stopped listening to new tunes in any imaginable way, but I just wasn’t able to get the writing part underway. I thought about it on a number of occasions but wasn’t able to properly put pen to paper or word document on screen. The dropbox was also kind of quiet, so if you are reading this in early January, give me a shout and I’ll help you out with the stuff that you missed along the way. However, I’ve dropped a new drobox to coincide with these notes so you should take a peek, eh?
As this is generally the time of year when I take a look at the past year and reflect on what I spent most of my time listening to, I seem to have reached a new level of listening diversity. I definitely enjoyed a more diverse year in terms of albums I enjoyed, discovered some new areas of listening enjoyment that were off my radar in the past i.e. pop records, and discovered that pop-punk and punk rock as genres are in really good shape with excellent albums by the Menzingers, Fireworks, Copyrights, and Masked Intruder last year. Most surprising is my new found appreciation for electronic albums. However, don’t get carried away. I still can’t appreciate EDM, most industrial, goth, classical or Hip Hop. I’m still kind of old so its not likely I’m going to move that far from where I’ve started.
If you are new to the Tales From The Dropbox, I only put in albums that I like. So, there are no negative reviews. If I didn’t like a record or was lukewarm or bored, or I missed it along the way, then it’s not going to show up. I’ve got enough to do in my life without wasting energy on things that don’t bring enjoyment or the cash necessary to buy enjoyment! It is called work because its not fun. If work was fun then you could use the terms interchangeable – I’m not there yet. I do actually miss quite a few things because there were over 15,000 releases last year and there are only so many hours in the day. 24 hours I think, right? So if you don’t see it, you can point out what I’ve missed and lead me to discover a record that gives you joy. Truly exciting!
So, the next couple of issues of the Dropbox Notes is designed to accomplish a couple of important tasks:
1. Catch up on releases that I dropped but didn’t have time to give you a capsule review;
2. Give you my thoughts on my favorite records of last year;
3. Post the complete list of releases that made the dropbox;
4. Update you on the new releases in this month’s dropbox.
Whew! That’s a bunch of stuff. So, I’m going to break those tasks up into pieces and post as I go. So, there will be dribs and drabs for the next thirty days or so. Please bear with me. 2015 is already looking good for new music and we will get there….together! ….and hopefully all in one piece…
Finally, I hope that your 2015 is an exciting, prosperous, healthy, and successful year. After the major news events of the past couple of months including #icantbreathe, Ferguson, Ottawa parliament shooter, last week’s Paris attack on a newspaper, and last month’s Australian hostage situation, it, at least on the surface, appears that the degeneration of the human soul is accelerating. Hopefully these tragic events are only an anomaly.
Last year there was also some brilliant evidence of the compassionate and empathetic human spirit where people took it upon themselves to make the world a better and safer place. It is these stories of courage and compassion during difficult situations that give me hope that evil will not win even though these same “good” events don’t get the same press attention. And perhaps these quiet and individual efforts to erase the evil of murder committed in the name of religion will someday create a roar of positive life affirming goodness and we can begin again to enjoy life without the threat of darkness.
Looking forward, and back, at the same time. Happy New Year!
Now to the regular program…
First, you should take a look at what you might have missed in the second half of 2014. My last observations were in July, so here is the list of releases from the second half of 2014 that made the Dropbox:
August 07, 2014 Dropbox
Anti-Flag – A Document of Dissent 
Army Navy – The Wilderness Inside 
Courteeners – Concrete Love [Deluxe Version] 
Spoon – They Want My Soul 
Rise Against – The Black Market 
Nico Vega – Lead to Light 
The #1s – The Number Ones 
Ghost Wolves – Man, Woman, Beast 
Downtown Fiction – Losers & Kings 
Bleachers – Strange Desire 
Bishop Allen – Lights Out 
Big Deal – June Gloom [Deluxe Edition] 
Allison Weiss – Remember When 
Angus And Julia Stone – Angus And Julia Stone [Deluxe Version] 
Colony House – When I Was Younger 
Engineers – Always Returning 
Gaslight Anthem – Get Hurt (Deluxe Edition) 
Grumbling Fur – Preternaturals 
Interrupters – The Interrupters 
J Mascis – Tied to a Star 
Joyce Manor – Never Hungover Again 
Muffs – Whoop Dee Doo 
Stiff Little Fingers – Original Album Series [5CD]
Rentals – Lost In Alphaville 
Baby Ghosts – Maybe Ghosts 
Bats – Volume 1 [3CD] 
Dry The River – Alarms In The Heart 
Literature – Chorus 
Raglans – Raglans 
Real Friends – Maybe This Place Is the Same and We’re Just Changing 
Thousand Foot Krutch – Oxygen Inhale 
Dead Stars – Slumber 
Twin Atlantic – Great Divide (Deluxe Version) 
Ty Segall – Manipulator 
Cymbals Eat Guitars – Lose 
Allah-Las – Worship The Sun 
Dylan In The Movies – Sweet Rebel Thee 
Dirt Farmer – Free BBQ 
Darlings – Made Of Phantoms 
Arkells – High Noon 
Empire! Empire! I Was a Lonely Estate – You Will Eventually Be Forgotten 
Lucero – Live from Atlanta 
Courteeners – How Good It Was EP 
Neighbors – Failure 
Neighbors – Will You Please Be Quiet, Please 
Wax Witches – Center Of Your Universe 
Philip Selway – Weatherhouse 
Quietdrive – The Ghost of What You Used to Be 
Game Theory – Blaze of Glory [Expanded Edition] 
So, which of these releases should you have not missed? Well, the next Tales From The Dropbox Notes will cover the key releases that belong in everyone’s collection! (No…. the Foo Fighters record is not one of them. Sadly, not in the top releases of 2014. Solid record, but not one that I’m going to keep coming back to listen. Shelf life = 3 months, perhaps 6 months at best.)
Easter is today. Happy Easter to all. I figured I’d start with the non sequitur and then move on. After a really good month of releases, April is also shaping up to be a great month with a number of excellent releases worthy of inclusion in your collections. Most importantly, Record Store Day was yesterday, so I’m sure that I will have a number of rarities to add to the dropbox next month. Most are one of a kind, rare, or never issued items. I snuck a few in this month’s dropbox including the Springsteen, Pixies, and Green Day for a couple of buddies who collect. I have also recovered fully from the rants of the past couple of Dropbox Notes, so these notes should be a little more positive – unless of course I am dispossessed to erupt again as some of these issues are long not expressed and finally I’m getting some release from years of frustration. Not that anything is likely to be fixed, but at least I’m putting it out there, eh?.
Feel free to browse through the dropbox. I generally put in things in a completely random way – As I listen to something and it strikes my fancy, I save it to another location to listen again. At the end of the day, when the telephones are turned off, I crank up the set asides and take time to enjoy these finds. And then, after several listens from that culled group, I select the month’s dropbox. So, the secret is out, finally. I’m spent.
Lastly, I have also dropped a couple of recent and not so recent things into the drop box by request so you’ll find Reverend Horton Heat’s latest – Rev and London Grammar’s debut in case you also missed them the first time around.
So, with that introduction here are this months Tales From The Dropbox:
Long time favorites Stiff Little Fingers return with their 10th album ( of originals – they probably have 50 compilation albums out being one of the most heavily reissued bands of all time rivaling the Who and Elvis Costello) a Pledge Music funded release entitled No Going Back. What is singularly amazing about SLF is that over a career spanning 35 years the band has not lost any of the qualities that made them exciting in the first place. If anything, Jake Burns’ songwriting is better and more thoughtful – some of the songs on this record will quickly become fan favorites and end up staples in SLF’s live show. There are very few bands that could make this claim. That is, after 35 years, SLF is putting out new music that is as good as or better than some of their earliest and most beloved work. This album has everything that you would expect in a SLF record: aggressive anthemic punk rock that is catchy as hell. From the opening riff of “Liars Club” through the terrific “When We Were Young” SLF plays with renewed energy and although Not Going Back covers some dark territory, particularly Burn’s battle with depression on “My Dark Places,” the overall record is uplifting and spirited. Definitely a band worth seeing live (as I have a number of times). So, as the band ranks among my top 3 all time favorite bands, I might be a little biased. For the unwashed try: “My Dark Places,” “Throwing It All Away,” and “Trail Of Tears.”
Minneapolis’ Howler return with their second effort World of Joy as the follow up to their excellent 2011 debut entitled America Give Up which was also a drop box favorite. Second records are tough enough, particularly when critics loved your first, and this would be doubly difficult when the band takes a healthy stab at incorporating and updating the Jesus and Mary Chain, so when you discover that the second record is likely better than the first, well there is a little bit of shock. Not so much the Smith’s (Johnny Marr) guitar sound is present as the Reid brothers, as other critics are fond of claiming (since vocalist Jordan Gatesmith dates? Johnny Marr’s daughter, Sonny), but a magnificent sound to be sure. The shoegaze feel of the only ballad “Here’s the Itch That Creeps Through My Skull” coupled with the shimmering guitars, gives a little darker presence to a great ballad. Perfectly balanced and an all too brief 28 minutes World of Joy – is precisely that an entrée into Howler’s creepy world – of joy. Try: “Indictment,” “World of Joy,” and “Don’t Wanna.”
Adam Granduciel’s band The War on Drugs on their third album Lost In The Dream is deservedly receiving quite a bit of hype. This is a brilliant record in the same vein as Kurt Vile and The Men, but with a sonically different take on the psychedelic synth-laden inflected country tinged rock of those bands. The lyrical journey is somewhat depressing essentially the tale of a man struggling to keep it all together, but I was mesmerized by the classic rock sounds throughout the record (Springsteen/Dylan comparisons are inescapable). This will likely end up on many best of the year lists, and it will also find a place on mine. Try “Red Eyes,” “Under The pressure,” and the hauntingly beautiful “Lost In The Dream.”
The world is a better place with the Afghan Whigs. I played endlessly the entire Afghan Whigs collection of great records (and they were actually records at that time). I loved every song and it would be hard to argue that Greg Dulli’s vocals on Do The Beast are as unmistakable, powerful, and captivating as they are on ever record he has put out. So, imagine my surprise to find that 16 years after their last release, 1965, the Afghan Whigs are about to release Do The Beast – another awesome addition to their catalog – a little stranger than previous because there are definitely flavors of Dulli’s other band, the Twilight Singers incorporated into this record. However, I’ve been playing Do The Beast repeatedly for about the past thirty days (along with the Stiff Little Fingers and the Horrors records). This fact that the Afghan Whigs were playing both days at Coachella was almost enough to make me want to brave going, but I am sure I’ll see them in a better venue another time. (Which I Did – in my living room on the big screen. Thanks to whomever uploaded weekend 1). This is not the original band, and so the guitar sounds are slightly different than the 1.0 version of the band – noticeably absent is guitarist Rick McCollum – but this is such a treasure of a record and like all of the previous Dulli records (including those with the Twilight Singers) the collision of love, lust, greed, and need are pervasive throughout as Dulli tries through his vocal approach to bring color and clarity to these philosophical constructs. Try “It Kills,” “Royal Cream” and “Algiers.”
To be truthful, I was not ready for Bob Mould’s debut solo record, Workbook following the very nasty breakup of Husker Du more than 25 years ago. I doubt anyone was. If you loved Husker Du as much as I did, then when you put the needle down on track 1 – “Sunspots” you went …what the $#^%? However, with time and a little perspective, you come to find that Workbook after 25 years is a work of, well, genius. I have listened to this record well over one hundred times in the past 25 years and each time I’d discover something new to amaze. After reading Bob’s book See A Little Light: The Trail of Rage And Melody, I gained a new perspective on the place and importance of Workbook in the pantheon of Mould/Husker Du/ Sugar recordings. And here it is reissued and it shines and sounds as if it was a new release I am supposed to write about. So, what is new? Well Disc 2 collects a live show from the Cabaret Metro on May 14, 1989 during the tour and gives incite to Mould’s artistry and captures the magical qualities of an artist finding his way after the trauma of losing everything important in his life. The live version of “See A little Light,” captures this place and time perfectly as does the gem “If You’re True” which plays entrée into Mould’s rawness following the split. To be fair, I’ve not taken sides in the end of Husker Du. I think Grant Hart is a genius as well . Also included on Workbook 25 is “All Those People Know,” the B-side of the “See a Little Light Single” which was not on the original album for good reason as it sounds like a Husker Du outtake. For those of you trying this for the first time, Try” See A Little Light,” “Poison Years,” and “Compositions for the Young and Old.”
The reason that music is not a competition, is best exemplified by Horrors, whose latest and 4th album, Luminous, is the follow up to 2011’s masterpiece Skying. To be released May 5, Luminous captures a brighter sounding Horrors with the album firmly including elements of 90’s shoegazers Stone Roses and Happy Mondays, and containing overall much less lyrically dark offering than past releases. I understand that a more positive more electronic organic effort was what the band was looking for, and they have accomplished those goals but what is staggering is the brilliance of the dynamic guitars and dance (for England) friendly songs all of which are going to be killer when played out in a live setting. If they can play the Arctic Monkeys in the U.S. on commercial radio then there is absolutely no reason why they couldn’t find space for all 7:33 of “I see You.” If you loved Skying, then Luminous will not disappoint. England’s got the band covered, but America should really dig this record. Try “I See You,” “Sleepwalk, and “First Day Of Spring.”
Lo-fi is always a difficult genre for most people to get into because we are all so used to playing lush full sounding mostly over-produced elector-pop. However, when done right, Lo-fi combined with hardcore is absolutely the most compelling sound to listen to. Where Husker Du on Zen Arcade and the Minutemen on Double Nickels On a Dime both hinted at the possibility of this unique sound, La Dispute on their third album Rooms Of The House, achieve the brilliant balance and in so doing emerge with a breathtaking look at hardcore that won’t scare off the listener who like pop. The reason is likely that on this third record, Jordan Dreyer, the bands songwriter and vocalist finally has figured out that songs have a unique structure outside of poetry which on previous outings sounded exactly like that – poetry with a musical background. Now, the poetic edge is still present but the music is of equal presence and importance. It is this cohesiveness that makes this such a great listening experience and why, this record belongs in your collection. While Rooms Of the House may never reach the prominence or importance of Zen Arcade or Double Nickels in the punk/hardcore mythology, I think it will be a record that you’ll dig out 10 years from now to tell a friend – I remember this, it was so ^$%$ cool! Try “First Reactions After Falling Through the Ice,” Scenes from Highways 1981-2009,” and “The Child We Lost 1963.”
Montreal’s Mac DeMarco’s second solo release Salad Days is upgraded by his move to Brooklyn, the current home of indie music. The style is not different than the very good debut – a mix of 70’s influenced soft rock and catchy melodies, filled with slightly off kilter lyrics. The acoustic guitar shines, but it is Mac’s personality, somewhat Beck like in intonation that carries the day for these songs. I’m somewhat reminded of Jonathan Richman but not the nasally voice that is Jonathan’s alone, but rather the presence on each of these songs. It’s fair to say that DeMarco is a non-slacker for the slacker world producing carefully crafted mini-masterpieces that seem to be almost lackadaisical throw offs. Try “Let Her Go,” “Salad Days,” and the left field mostly electronic “Chamber of Reflection.”
More Canadians, this time from Prince Edward island, Paper Lions album My Friends was one of my favorites from the past year ending up at Number 8 overall, and their latest EP, entitled Acquaintances is really a stop gap before their next full length, features another great indie pop song in “Do You Wanna” and a couple of remixes of “My Friend.” Wow, I’ll bet they are playing the crap out of “Do You Wanna” in Canada. Here….crickets. Try them all. Can’t wait for the nest record. Try them all.
More freaking Canadians in the drop box. And they are awesome! Upping the nerd-core game I discussed last month, Pup are according to Pup “[w]e’re called PUP. We’re 4 dudes from Toronto. We play loud music. You’ll like it. Or maybe you won’t. Listen and love it / hate it / whatever.” Really they are Weezer for a new generation and it is blistering amalgam of noise, punk, pop, and hardcore all battling for sonic territory and it all works. Not a duff song on the record. Canadians do it better. “Meet me at the Reservoir”… I am singing along…. alone in an office building…wait someone’s coming…oh what the hell…they are singing along too! Perhaps they will play somewhere near me I’m thinking. They played New York recently. Hopefully this will catch on big. Not radio friendly. College Friendly though. Maybe they will play my house. Sure would freak out my San Marino neighbors. Try” Reservoir,” “Yukon,” and “Lionheart.”
How long does it take to make a hit record? For Brooklyn, New York’s American Author’s who’s self-released self-titled EP was released on August 27, 2013, apparently almost a year. When I put the EP in the drop box last year (See September 29, 2013 Dropbox Notes) I thought the song “Best Day Of My Life” was a hit – writing then ‘[y]ou will like American Authors if you like sugary commercial alternative music that is very well written. Hopefully future releases will demonstrate some willingness by American Authors to try to expand the formula a bit. Still, it is difficult to not like the band or their music as each song on American Authors is built for maximum alt rock catchiness.” A year laterthe same holds true on the full length Oh, What A Life. “Best Day Of My Life” is a commercial radio hit single, and the rest of the album is completely filled with similar hook-laden catchy alternative rock, that is a little overproduced on album, but likely sounds amazing live. As you know, if its here, I like it. Apart from the two hits, also try “Think About It,” “Luck,” and “Heart of Stone.”
You either are going to like the latest album from Elbow, the bands 6th called Take Off and Landing of Everything or you are not. There is really no middle ground with this band. And the band is not really that interested in altering significantly the formula from record to record, there are minor tweaks along the way, but the formula remains the same – Guy Garvey’s distinctive baritone melodically singing his tales of his own life – apparently one filled with loss, isolation, and confronting his own middle age. And for me it is great. While much will likely be made of the resemblances to Peter Gabriel with the art rock leanings and lush sound and recording this record in Real World Studios probably doesn’t help dissuade the detractors, but Take Off and Landing of Everything stands alone from the comparison and ambles boldly with some excellent songwriting and measured playing, all of which combine to produce an interesting and pleasurable listening experience. In short, it is not boring. And believe me, Elbow has produced some boring music on past releases. And that is why you are either going to love this album or hate it. If its not your style, then its going to be a tough slog. However, on a Sunday afternoon, and it’s raining outside ( I’m creating an allusion here – it doesn’t rain much in Los Angeles), then Take Off and Landing of Everything will be a perfect record. Try “Fly Boy Blue / Lunette,” “My Sad Captains,” and “The Take Off and Landing of Everything.”
Surprises happen on rare occasions for me. And Foster The People’s latest, Supermodel, is one of those surprises. It’s not what you think – both Supermodel and me. I am excited when a band makes a great record, and I don’t care if it is popular on radio. I am not one of those individuals who stops liking a band just because they are popular. The goal of this blog is to hopefully contribute to the popularity of the music I describe. So, when Foster the People released this new record, the overriding question was is it going to be “Pumped Up Kicks” Volume 2 from the Torches LP. The answer refreshingly is no. Supermodel is a complicated assemblage of indie dance rock with world elements infused throughout. So, it is a surprise when the album resonates – it is a much more refined offering. Lead Single “Coming Of Age,” is undeniably good – at least until local radio kills all that is good about it, by playing it every two hours for %$^ days. However, like the first record, Supermodel is filled with great songs so you are likely to hear several over the next three years ( which is about how long some radio stations play a “hit song” pummeling the listener to until they can’t take anymore). So, try “A Beginner’s Guide To Destroying The Moon,” “Coming Of Age,” and Are You What You Want To Be?”
I feel a rant coming on….. I warned you at the beginning I might be disposed to a rant. Well its too late…Here it is….
Aside: I know I’ve hinted at this property of radio stations in the past. I love radio when it is good, and in Los Angeles it has now achieved a level that is truly terrible. It is like watching the CW television network – play similar sounding music with a commercial every three minutes and then make sure there are endless repeats. It has to stop. Please people, turn off your radios. Stop listening, and then maybe they will respond to their audience who doesn’t actually buy any of the stuff they advertise and can’t actually like any of the stuff they are playing. The biggest radio joke in Los Angeles is without a doubt KROQ. Who have now figured out that Coachella may be something great – and are now playing catchup broadcasting from somewhere near Indio. KROQ’s new catch slogan in response to Alt 98.7’s slogan (Music Discoveries First) is “Alternative First.” And that my friends, is the joke. Alternative to what? Growing up in the college radio days of the 80’sand early 90’s when the term Alternative music was referenced as a genre, it had some meaning – it was alternative to metal and punk and featured shimmering guitars i.e. it was early R.E.M. and the bands coming out of the Athens and North Carolina scenes. From there it was co-opted to not scare off older readers and listeners and was affixed to Nirvana when “grunge” became a dirty word. Now, exactly what would pass for Alternative music on KROQ? I have no freaking idea but it certainly isn’t the massive amount of electro pop and fake folk or Chris Martin’s whining on the frankly boring “Magic” single. Really, I do love radio and for the most part having listened to KROQ for almost thirty years, I have learned that I absolutely abhor Kevin & Bean (and Ralph you too) who have single handedly destroyed anything intelligent to be offered by the station. And to be fair, I believe that they all have more in them and the potential to change, but likely all of their spirit has been destroyed, by the soul sucking need to drive advertising and keep revenues flowing. There must be a better model. Hell, I even miss Jim “Poorman” Trenton now so you can see how low my bar can go. So, if anyone reading this with any power to influence programming/hiring decisions (alt 98.7 – please turn off the annoying Kennedy’s microphone), then start fresh and build something that actually is intelligent, interesting, and fun. Local radio has none of these elements right now. Sad. Now that I’ve finished my rant, I’ll move on. Maybe rants are not the way to achieve change, but at least I’ve made an effort. KROQ – post a comment and I’ll hook you up with something new to play.
Toronto’s Fucked Up are a singular entity in the annals of punk rock. Who else could release such a remarkable sonic effort such as Year of The Dragon with the 18 minute long title track leaving you emotionally wrung out? Only Fucked Up. As hardcore as a genre has made its way towards the deeper, blacker, and less vocally appealing end of the spectrum, Fucked Up plays it right down the middle and finds the pocket of the genre. Capturing 70’s metal acts penchants for lengthy guitar driven workouts which resulted in the prog movement, creating the environment for punk in its wake, Fucked Up retain the punk aspects while experimenting with the progressive hardcore sounds and the sounds are Killer ( Yes, with a capital K). While this is an EP in anticipation of their next full length Glass Boys due out June 3, it doesn’t feel like a stop gap. This EP is the 6th in their zodiac series and features two cover songs from the early the Toronto punk scene ( in the late 70’s), namely “I Wanna Be a Yank” by Cardboard Brains and “Disorder” by the Ugly. Try them all.
Last month dropbox listeners enjoyed the Gaslight Anthem’s B-Side Collection, and this month for your listening pleasure is the latest from the Gaslight Anthem’s 45 RPM Club featuring two songs “Anywhere I Lay My Head” (Tom Waits cover) and “This Is Where We Part” (Twopointeight cover). It’s the Gaslight Anthem – you know what to expect by now. Try them both.
It took a little work, and a number of listens before I actually got the latest record from Spain entitled Sargent Place. Since 1995 Spain have been putting out quality releases, but in all honesty, I’ve never really connected. Perhaps it’s the pacing, as these records, much like slow-core originators Low, are sparse affairs with a pacing in places that is not even close to 4/4 time. If you like jazz inflected Americana then this is a great album. For me, it was listening to the 2nd track, “The Fighter” that I finally connected with both Josh Haden’s vocals and the bands casual pacing. From there I was hooked, because as the pacing picks up, particularly on “Sunday Morning” the feeling is electric. I think it took some time to feel the record as opposed with the immediacy of most releases, this blindsided me a little bit, because what makes this work are the jazz edges creating a unique sonic experience. “Sunday Morning” is a hit. Try “Sunday Morning”, “The Fighter, and “You and I.”
It must be difficult being the Pixies. Releasing their first record and only their 5th in total with their last record being released in 1991 (Trompe Le Monde), the band has experienced some critical backlash for its recent collections of EPs which are collected and were released on April 19th ( Record Store Day) as a collection entitled Indie Cindy. Sure, as bands age, there is a tendency to create different sounding music, and heaven knows, Frank Black has been around a number of wagons. The problem for the Pixies, apart from their personal inter-band squabbles and personal dysfunction, is that everything, and I mean everything, is going to be compared to their past releases, in particular the brilliant Doolittle which arguably ranks as one of the greatest records of all time. So, the real question is whether the record sounds like the Pixies? And in short, it does. It’s a little uneven as it was imagined first as a series of thee EPs, but overall, there are some great moments on this record, and contrary to the assertion made by at least a few so called critics that this is not the Pixies without Kim Deal, the truth is that the Pixies sound is still emanating from these tracks and the songs are without a doubt the Pixies. Try “What Goes Boom,” “Ring The Bell,” and “Jaime Bravo.”
Craig Finn must be wondering what the &%$67 is going on and what he and his band The Hold Steady have to do to actually please a critic. On Teeth Dreams, the Hold Steady’s 6th album, Finn and band actually hold steady (see – puns are convenient sometimes) and create an album of solid Hold Steady songs that will fit nicely into their growing collection of amazing song stories that refocuses the band – a band that kind of lost the script on 2010’s Heaven which smoothed out the edges and was frankly overproduced to the point where I am unable to actually enjoy the record. Sure, there is a Springsteen vibe on all Hold Steady records, but that vibe is created by the cast of characters that populate the songs. In short, it is not a dance record. Rather, it is tougher, tighter, and the rawness has a spark that captured my attention throughout. And that is what makes Hold Steady records great – it is a journey through Americana influenced indie rock with a few pub rock edges ( I am thinking Brinsley Schwartz and early Nick Lowe here with hints of the Singles soundtrack) with stories that touch a nerve. Try “Spinners,” “Walk A While,” and “Records And Tapes.”
Previous dropbox favorites the Menzingers return with their latest on April 22 entitled Rented World. From Scranton PA, the band like Boston’s Dropkick Murphy’s, incorporates the punk sounds from the city, and on Rented World, their 4th and is kind of a crossover in sound from their last release, 2011’s On The Impossible Past, which was definitely a smoother more traditional pop influenced punk record, whereas this record in places is a return to roots effort, cramming more aggressive sounds into tightly played punk rock with sing-along melodies. I love this record. Played the thing in my office at full blast as I am apt to do on weekends when no one is around. I’d venture to say that with bands like the Menzingers around, punk rock is safe for a while. Try “I Don’t Wanna Be An Asshole Anymore,” “In Remission,” and “Hearts Unknown.”
That’s all for now folks. As always, have a great month of music, and here is the list:
Stiff Little Fingers – No Going Back 
War On Drugs – Lost in the Dream 
Afghan Whigs – Do to the Beast 
Bob Mould – Workbook 25 [2CD]
Horrors – Luminous 
La Dispute – Rooms of the House 
Mac DeMarco – Salad Days 
Paper Lions – Acquaintances EP 
Pup – Pup 
American Authors – Oh, What a Life 
Elbow – The Take Off and Landing of Everything 
Foster The People – Supermodel (Deluxe Edition) 
Fucked Up – Year of the Dragon 
Gaslight Anthem – 2014 45 Record Club [7”] 
Spain – Sargent Place 
Pixies – Indie Cindy 
Hold Steady – Teeth Dreams 
Menzingers – Rented World 
Amen Dunes – Love 
Cloud Nothings – Here and Nowhere Else 
Farewell Flight – I Was A Ghost 
Habibi – Habibi 
Walking Shapes – Taka Come On 
Swans – To Be Kind 
My Sad Captains – Best Of Times 
Future Islands – Singles 
Desert Noises – 27 Ways 
Dexters – Shimmer Gold 
Mr Little Jeans – Pocketknife 
Reptile Youth – Rivers That Run For A Sea That Is Gone