Showing posts with label album review. Show all posts
Showing posts with label album review. Show all posts

Merger - S/T


Hello and welcome back, yes I know it’s been a long time since you all have heard from me, but we’ve been making some changes over here at Crafted Sounds HQ. The focus groups, polling data, and, especially, our corporate sponsors have spoken and I’d like to welcome you all to the new Crafted Sounds Cooking Network. 

As your CSCN host I must disclose that anything concocted here may or may not be edible but the only way to know for sure is by signing a “couple” of papers to ensure your own safety…..yeah sure, your own safety. 

Today we’re going to make Merger Chili, and boy howdy is it going to be dangerous, and delicious. So what are we looking at for our directions? Well it’s about one cup of diced garage rock looseness, three-quarters cup of post-punk potpourri, some grated bass-line funk, a quart of essence of Fugazi, and finally a hint of Slint. Then we’re gonna let that simmer in a nice pot above a campfire that’s near a couple sticks of dynamite whose wicks mayyyyy be to close to the fire if a couple embers decide to travel a little too far from the nest. Smell that? 

God damn, that’s some fine chili.



Merger are a four piece collaborative post-punk powerhouse hailing from Wilmington, Delaware and their first record, released through Impetus Records, is a barnburnin’ rootin’ tootin’ truckload of music. The group has been making waves for the past 3 years of their existence but this record is the starting gun to the race they’re absolutely about to win. Merger have crafted six songs of entropic energy that have had me coming back to it constantly discovering new ways to get excited about these songs. Consisting of Diego Romero-Asos (Guitar, Vocals), Eli Gordy-Sith (Bass, Vocals), Shane Spencer (Drums), Ryan Yoder (Guitar), Merger are able to create a world of composed chaos. Through my umpteenth listen I still find myself getting tense when listening to these tracks because I never know if the ground beneath my feet is going to collapse as I’m running on it, I’m going to fly into the sun, or I’ll just keep moving. Merger have created a sonic environment which always sounds collected while also hinting at any second it’s going to collapse in upon itself. 

The back and forth between the hard hitting and absolutely sporadic drums and the funk-punk boogie of the bass lends itself to keep the listeners off guard, and then when both guitars come into the fold, everything comes together. As some will hear when they go through this record the vocal delivery on a track or two do have some similarities to Fugazi, but to write them off as a copycat instead of a beautiful homage, would be, in my opinion, lazy and dismissive. The vocals arrive with such energy and pacing with the instrumentation that they refuse to be ignored. “Debris”, the first track, is a great example of Merger laying out their message and giving us an idea of exactly how they’re going to kick our ears’ asses. Starting out essentially giving each musician a curtain introduction before slamming into the tune and then finally by the end leaving us fully certain the earth is going to crack and fall apart. By the time we reach “Doubletime” our adrenal glands have been shot by this track-meet of an EP but this song is exactly what you need to get back into it, starting off fast as hell, leading into a funk-step bass and drum half-time fallout and then the vocals, beckoning to you until the build where the noise comes together, get my biggest HELL YEAH. 

This is your host signing off from the CSCN, don’t forget to buy cornbread to pair with this chili or have a glass of milk after, cause if not your tongue will burn off from the excruciating heat. 

RIYL: Fugazi, The Stooges, Sleater Kinney, “Hey man I dare you to throw this beer bottle at the bank?...How about a molotov instead?”, Going for a run in a hurricane 

Fav Tracks: "Nautical Song", "Sleepwalker", "Doubletime"




Follow Merger

Share:

Rich - "One"


I’ve been jumping back and forth searching for something to supplant Sam, Carla, and the Cheers Gang; god bless the algorithms, they try, they really do, but it’s been mostly duds and sinkers over here until Hulu decided to shove Taxi right into my face. I’ve heard so many good things about this show, Andy Kaufman, Judd Hirsch, Danny Devito, Marilu Henner, and Chrisotpher Lloyd, so I finally gave it a go. I hit play, and what’s this? WHAT’S THIS THEME MUSIC?! Alright, shit, you got me Taxi, I’m hooked and I haven’t even heard dialogue yet. I did some digging and realized that the theme song for the show (“Angela’s Theme”- Bob James [1978]) wasn’t even the original theme music. It was the score for a one-off character in the third episode. After listening to what was the intended original theme music, it just seems like there was no way that “Angela’s Theme” couldn’t be the theme music. It sets the tone and environment for the entire show; a group of people trying their best and just barely making it through. Dark, neon, sunshine, sorrow, some success, and more failures. Anything made in a vacuum always has a different potential when you see the forest for the trees.



Rich is a self-proclaimed “Pontoon Rock” group based out of Pittsburgh, and their debut album One is a stellar display of Ambien drenched, groovy-bop, heartbreaking, sunset-driving ballads. The members of this group hauled their rear-ends to a hunting camp away from the city, near Allegheny National Forest, and decided to just go ahead and write and record some excellent music in the span of a few days in March (Minus “So, True I Do” which was recorded at Mr. Smalls Recording Studio). The environment of this album brings the bass tone (Nate Campisi), reverb-twingy, drenched guitar (Rich Stanley), beautiful synthscapes (Ryan Hizer), and smooooooth drums (Kayla Schureman) of the 70’s blended together with a little bit of now. “So True, I Do” slings the same groove as “Down the Line” by Gerry Rafferty with a little bit more tension, while “Let’s Get Real” lets off all the steam of relationship frustration sung with so much sultriness you’d be convinced it was a love song.

Which leads to the vocals and lyrics on this album, Stanley, brings all of these tones together, with Schureman backing his lead to ensure maximum groove, solidifying One. The lyrics bring the light to the disco ball and then you can see what is on the walls, or at least try to, it's pretty damn dim, but here's a hand, Stanley's, held out to guide us through. The production on this album is grade-A as well, and who could’ve guessed it’s Campisi behind the knobs, who’s had his hands on a whole buffet’s worth of great Pittsburgh releases, let’s hope he continues to do so.

My favorite track on this album, “Silver Skin”, rides for almost 6 minutes without you even realizing it. Everything is locked together in rhythm and moving from suite to suite as easy and as effortless as a tide. Overall Rich has created an album that has a multitude of potential coming out of its cabin creation. It’s boat cooler music, it’s sad slowdance disco floor boogie; really the genre rubix cube is for everyone and anyone to solve. For me, “Visions of You” first finished the album out as I was in Deep Creek, Maryland with the sun setting, getting ready to hit the town, pensive but ready to boogie. Whatever you think One, it’s that and so much more.

RIYL: Connan Mockasin, Christopher Cross and Gerry Rafferty slow dancing on Ambien, Aloe Vera
that’s been in the fridge, “you got any more white claws in the boat cooler, dude?”


Favorite Tracks: “So True, I Do”, “Silver Skin”, “Visions of You”




Share:

Gauche - "A People's History of Gauche"


Listen, I get it. Shit ain’t right.

Something feels off; hasn’t this already happened before?
How old is this newspaper?

Oh it’s from today?

That can’t be?
2 weeks... again?

Everything shouldn’t come in cycles.
I can’t go to work and act like it’s just another normal day...wanna play hooky?

“I know! I can’t! Survive like this!”- Gauche



Gauche is a 6 person post-punk, goddess worship, absolute ripper of a doozy, dance your dang legs off, group hailing from Washington D.C. Their most recent album, The People’s History of Gauce, is just crackling with energy; absolutely the most inviting and fun power-punk album I’ve heard in a minute, Idles’ Joy as an Act of Resistance being up there as well. Every song is built to make sure that we all understand how Gauche got here but they never tip their hand to where they’re going to next.

“Flash” kicks the album off and from there we’re on a motorcycle of divinity ripping on a speed run that ends in a crisp, 36 minutes. The rhythm section of keys, percussion, and bass are so locked in together, boogie just oooooozzzesss out. From there, everything else is exactly where it needs to be, saxophone, guitar and lyrics. The LYRICS. Some powerful words, painting some powerful images and, through their delivery, become scripture. The one-two punch of “Pay Day” into “Surveilled Society” is the only rollercoaster your heart and brain need to ride this week, and by the time we get to the second sucker-punch of “Dirty Jacket” and “History”, well hell, the owner came in pissed off about 20 minutes ago; Gauche had simultaneously tilted every pinball machine in the arcade while getting all 3 top high scores and giving all the kids their quarters.

I think the most important thing about this album is that you can be angry and smile and have fun and cry all at the same time. Gauche is here to help you release all your tension with society through the newest Richard Simmons’ exercise video filmed in the middle of a protest. Leg-warmers provided.

RIYL: Disco Patti Smith, The Raincoats, boogie shoes with daggers on them, sax so perfectly peppered you wanna season your eggs with it, No New York

Favorite Tracks: Flash, Pay Day, Surveilled Society, Dirty Jacket, History



Follow Gauche


Share:

String Machine - "Death of the Neon"


I think the first time I saw String Machine I was playing a show with them when Soda Club was trotting and boppin’ around. It was at, the now defunct (RIP I really liked the venue), James Street Gastropub. It was kind of a surreal evening for me I was soaking up in friendship because a couple days later I was going to be leaving PGH for a month to study on a Native American reservation, very far away from a lot of the urban landscape I’d been accustomed to for quite some time. Anyway, here’s all these feelings, magnified by the city and the multitude of people who were at the show. Lights, friends, laughter, music, and I WAS FEELING it. Being caught up in a dopamine rush//heightened awareness//whatever you want to call it, String Machine was just about to start and close out the night. David started playing his guitar and the band members started joining in steadily as if it were an orchestra feeling it out and sound checking, I wasn’t sure exactly what to expect, then it all clicked. Whatever anxieties I had dissipated for those few minutes and my brain had a momentary reset. The song was “Pit of the Peach” and I was completely blown away. I’ve been humming that song for about a year and a half now and I bet the band has had it in their back pocket for that long or longer, but now, now we all get to bask in the glory of the world this band has created with Death of the Neon, and let me tell you folks something, hell yeah. 

String Machine are a 7 piece collective hailing from north of Pittsburgh, the rural hinterlands above the city. Comprised of David Beck (vocals, lyrics, guitar), Dylan Kersten (synth, piano), Laurel Wain (vocals), Ian Compton (trumpet), Nic Temple (drums), Mike Law (bass), Katie Morrow (cello) this group has blended together to create the best version of maximalism I’ve heard in a long minute. Tender maximalism is hard; emotions meant to create a scope the size of the earth can either be narcissisticly hollow or pretentious to the point of drool, but String Machine have created an environment that puts the whole world in your heart while you’re shoveling snow in your backyard. 

The album begins and the first three tracks immediately capture me into a world of hope, despair and earnestness. Engine/It’s Time immediately grabbing me as Beck narrates how his brain is working and jumping across thoughts, scatterbrained yet focused, as he’s waiting for his car to start working again. It seems like in times of forced patience during chaos our mind can focus and create beautiful connections.

“I’m thinking of how friends treat friends differently. If I’m an engine to you, I have no use if I overheat.” 

The lyrics fall off and we’re transported into a second suite giving us a preview of how the album will teeter between earth and the ether finally bringing us crashing back with the rhythm section locked into a beautiful back and forth that leads to an explosion. The instrumentation and production on this track is incredible and this is just the first track? God damn. 



As the album continues and we’re brought about the countryside as Beck narrates to us the angular didactics of his mind, with Laurel Wain’s harmonies pushing every song to greater heights. The layers of instrumentation, vocals, and weird car engine noises/found sounds make this album a great thing to come back for repeated listens to. Every track is either a city or a forest and you can’t explore Yellowstone or New Orleans in one day. Everything needs space to breathe. This might be accredited to them recording this album in Saxonburg. While still being listed as part of the Metropolitan area of Pittsburgh is more rural than urban. I feel that this is something that you can feel through the music as well, a distinct recognition of ruralness against the backdrop of urbanization, technology and desolation through industry. While all of this sounds bleak, which I mean yes of course it is, there is still the idea of resolution, strength, and most importantly, love. That’s the thing that String Machine is so good at doing, creating a space that you can float around in and feel surrounded by love while still being by yourself in vast isolation, whether it be through nature, walking alone in a city, or in your own anxious thoughts.
While I’m guessing String Machine will consistently be compared to big maximalist groups like TWIABP and Los Campesinos, I can’t help but think of Neil Young when I hear the first three tracks. Sincere, folk bounce amongst anxiety. It’s like String Machine is taking us along a scrapbook of their influences while not ripping any of the pages out to shove up their sleeves to cheat on the exam. I think it all comes together on Old Mack, my favorite song on the album. It’s a reflection on memories but also reassurance of everything; in the face of trouble we rely on our friends, community, memories to keep us safe. When the guitar solo hits I’m brought to the images of coming to in a haze after naps in the car when torrential downpours are going on, sitting there hearing the chaos around me while knowing a loved one is trying to safely maneuver through it all. Which brings me back to that feeling of ease I got when I saw them live at James Street. Here we are surrounded by a downpour of existential thoughts and chaos in the universe, but I can rest easy knowing String Machine is driving, trying to get us through this storm into better territory. 

RIYL: Grizzly Bear, Neil Young, Los Campesinos, your heart exploding with feeling all over the dashboard, the biggest bedroom you’ve ever cried with your friends in, “hell yeah, brother”

Favorite Tracks: Engine/It’s Time, Old Mack, DEATHOFANEON (Pt. 1,2, & 3), Pit of the Peach


Follow String Machine



Share:

Outer Spaces - 'Gazing Globe'


Gazing Globe is the brainchild of Cara Beth Satalino, who wrote these songs throughout a daily
ritual of meditation and then lyrical composition; while on a romantic break from her life partner
and bandmate, Chester Gwazda. The amount of reflection, observation, and ascension
throughout this album is absolutely astounding. From the beginning you’re taken to another
realm, the muted bass and picked guitar taking you somewhere you know is familiar, but yet
you’re trying to place how? A fog of memory of who you were, or a vision of who you want to
become? Either way there are mistakes made, but god damn a lot of building too, and you’re
building you.

“I’m moving to the other side I’ve mostly lived here all my life...Do you know her...Hiding in the
sun I see her face”

Satalino has such a way with words that punch you in the gut with their candidness, it isn’t easy
being this direct with yourself on tape without coming off hackneyed like a lot of other singer-
songwriters. The instrumentation (Salatino/Gwazda, Dowler, and many others) on this album is
also moving as well as the production (Salatino/Gwazda). “I See Her Face” started me on a journey of my own anxious reflection and “Gazing Globe” had no trouble keeping me there. This song oozes Fleetwood Mac, in all the best ways. The drum and bass locking into tight rhythm, the Buckingham style strumming, and finally Salatino crooning into the personal void so well, that whenever she was laying it down in Baltimore, it sent a shiver up Stevie’s spine. Finally we reach the end of the song, the build coming, and I’m ready for this amazing “Chain” style solo from the violin, but then it fades off, after only a moment, because as much as I (maybe others too) wanted the solo, Outer Spaces didn’t need it. Their meditation was done, in the end this was for them to speak and for us to listen. Maybe we just gotta chew on what it means to leave the thought of wanting something hanging there in the ether, you can always come back to it.

Photo by Alec Pugliese

The album continues to rattle off hits ranging from the Angel Olsen drive of YWLGOML, so
perfectly accented with saxophone, to the REM bounce of TV Screen. Here we are speeding
down the highway of Satalino’s mind, trying to grab onto each idea and follow that vein to the
best river we can find for serenity or attempting to dam up all the mental factory runoff. Finally
we reach the end of this world with Outer Spaces; “Teapot #2” bringing us out of this album with
a John Prine-like reflection, simple, blunt, bigger than a mountain. When the album ended, as
exhausted as I was, my heart was so full. The album ends with Salatino singing.

“I want to love myself, and I want to love you.”

A 9 hour drive back from Gatlinburg, Tennessee is a lot when you’ve been on a 2 day no sleep
streak with copious amounts of fun had, but let’s make that a solo drive because your friends are staying another day and you have to go back to do something else. Now remember it’s three years ago and your data ran out. So….guess it’s time to play radio pinball the whole ride home and try to stay awake/alive. Driving out of, what is essentially, the Las Vegas of the South and hearing preachers condemn you to a life of sin really gets you pensive about every mistake you’ve ever made. At this point I’m praying for any type of radio relief to pull me out of this anxiety induced funk. Just as I pass out of preacher hell, I do some more dial dancin’ and STOP, what is this bassline?? I can’t stop feeling elated about how good it is, how much I’ve reflected on my own misgivings, and refusing to turn around even though I was probably was going the wrong way, I had no map, because now, the reflections and light were right in front of me, no mirror needed. The song was How Long by Ace, a 70’s rock diddy, but the exercise of positivity, growth and self-love it inspired is reignited again when I hit play on Gazing Globe and “I See Her Face” starts.

RIYL: Fleetwood Mac, Angel Olsen, REM, John Prine, just picking up and moving to where the
sunset touches the Tetons, “being 100% in it, dude.”

Fav Tracks: Gazing Globe, YWLGOML, I See Her Face, TV Screen, Teapot #2





Follow Outer Spaces



Written by Ira Mason (@spookEguy420_69)

Share:

Truth Club - 'Not An Exit'


Steve Prefontaine was one of the greatest runners and personalities ever to exist in the sport. He was under six feet, had one leg shorter than the other, and still managed to dust every person that towered over him because, to him, there was literally no other option. “To give anything less than your best, is to sacrifice the gift.” 

So what exactly do the big lads of NYC and across the pond in the U.K. think they’re going to do when Truth Club steps up to the start line? To be quite honest, I don’t even think they’ll be able to get a step in before they’re left in the wake. 

Truth Club is an avant-ferry-garde, rare earth metal, post-punk group out of Raleigh, North Carolina and their newest release, Not An Exit (Tiny Engines) is an absolute slammer. 9 songs filled with layers of anxiety, longing, and dissociation that not even a trailer truck full of Prozac would slow these folks down. These songs are the culmination of early British post-punk grooves slammed head on with high pop sensibilities, say for instance if Bauhaus was walking down an alley, came across the Killers and the Strokes, and a brawl ensued. The instrumentation on these songs is perfectly arranged and you can’t help but boogie in your room by yourself in the dark while a candle is flickering in the background. 

Although there are dark tidings accompanying this album, there is still room for hope and beauty. “I Know There Is” starts it off with a message- “I hope that you hope that there is a right place for us”. Reflecting over anxious thoughts or morose feelings can only get you so far until you’re left empty with no growth, but Truth Club is able to do push ups during their deep digs and extract earnest meaning from their experiences. 


“No Planned Sequel” goes through so many different phases, ending with a gut punch of guitar and lyrics that blindside you, “I’m impressed with your willingness to redact unwritten contracts for the sake of potential mutual happiness and no planned sequel” Being vulnerable takes courage and the risks that come with taking off your armor sometimes become so overwhelmingly scary that if something isn’t continuously guaranteed then what’s the end goal? Is a day of true happiness really worth it if you don’t get to experience those vivid emotions again? Truth Club understand this type of reflection on relationships and emotion isn’t easy and taking responsibility for your own faults is crucial if you want to grow. In the end, these folks have created a phenomenal, concise record and want you to know that lying to yourself about the past and your interpretation of it only furthers the depressive cycle.

You can’t live without truth. 

RIYL: Quietly freaking out while your friends have a good time, Protomartyr, Everything all at once in your mind//nothing at the same time, Ba uhaus versus the Killers and Strokes in an alley fight,  Trying like hell to jitterbug your anxiety away

Favorite Tracks: Student Housing, No Planned Sequel, Tethering, Not an Exit




Follow Truth Club



Written by Ira Mason (@spookEguy420_69)

Share:

halfsour - 'Sticky'


Well... what’re you looking at? 

Listen, pal. I know the riffs are choice and the rhythm section is keeping the angst in the forefront, but that doesn’t mean that you get to talk about Pearl Jam while they’re playing, frick Pearl Jam. Eddie Veder can go kick rocks. 

halfsour is a power-pop three piece hailing from Boston and Sticky is their second full length following 2016’s Tuesday Night Live, released through Jigsaw records in 2016. Their newest, released through Fire Talk and Disposable America, is a powerful, concise zing dinger that brings the crunch with a steady stream of honesty, intimacy, and frustration. This is pop, this is punk, this is definitely not pop-punk. Boy howdy no siree. Those lame-o’s wanna get out of this town; halfsour wanna burn it down and analyze every burning ember to make sure we do better next time. 

The single “Blurred Camera Phone” helped to set the tone for what the lyrical environment of this album was going to entail. It’s a reflection of an everyday event pushed to profoundness by the instruments behind it and the strength in Zoe Wylner’s voice. I guess I should really think twice more about the shit I do everyday. With Sticky, the best parts are found in the small details and a constant reminder of how I need to slow down and think about the reason why I couldn’t stop staring at the one oil stain on the road for 4 hours when I was working as a flagger for PennDOT during the summer after my freshman year of college.


The reason I bring up that job specifically is because something about this album brings the memories of standing around and flipping a “STOP/GO” sign for hours up to the forefront of my mind. This album is strong in painting cohesive pastiches that meld together in the form of a landscape much akin to the cover art. Everyone talks about how at a certain point when you’re driving, the landscape blurs together to form one image, but what happens when you stand around for hours on end staring at the same patch of road, same group of people, and same trees? You’re mind begins to create a cohesive image of how this landscape is affecting you, and once you’ve created that image, what’s next? For halfsour, the only obvious conclusion is to write about the things that have occurred within this image in order to make sense of the mundane. 

There’s a moment in Paris, Texas when Harry Dean Stanton’s character, Travis, is picking up his son from school and they begin walking home. What could be scene as a simple, everyday task in any parent’s life becomes elevated because the focus is beyond the environment of the school and city which have become the blurred, still background. Take a moment to look down at an oil spill, or consider why those two people were walking the whole way home separated across the street? Everything’s important, even if it’s just gum on the sole of your shoe. 

RIYL: Scraping your knees in the summer, drinking on a stoop yelling about it all, the best flannel….you know the one I always wear, The Breeders, Guadalcanal Diary, Speedy Ortiz

Favorite Tracks: Blurred Camera Phone, Built-In Guilt, All Gone, Big Teeth, Milk Bath



Follow halfsour



Written by Ira Mason (@spookEguy420_69)

Share:

DEHD - 'Water'


Ahhhh here it is….that first thicc sweat of the summer. Soon enough it’s going be too hot to move and we’re all gonna die from global warming, but let’s just take moment to bask in the transition from winter to spring and from spring to the warmth of early summer. At this point every year I think back to when I was living in a dorm going to school at the University of Pittsburgh with one of my best friends. We both had penny boards and had been exiled to dorm purgatory over the harsh winter leading into finals hell. Finally we were free and he asked me if it was time to “Boardenburg”?, to which I opened the window, felt the warm sunshine, and said hell yeah. Cruising thru Oakland and feeling absolutely free, there it was, bliss.

DEHD is a trio from Chicago that’s been consistently been putting out great tunes since their self-titled album in 2016. Water, released this May has been another hurdle forward for these psych drenched garage rippers. These 13 songs fly by and are so enjoyable as they take you through different lanes of psych, garage rock, and absolutely stunning VU grooves. The guitar and bass are locked in so tight to their minimal, yet powerful melodies and everything is brought to an exclamation point by the drums. The drums on this album are bop hoppin all over the place in the best way, creating grooves and fills so choice. This is an album to feel like a smiley dirtbag too.


The other luring aspect of this album is the vocals, which I feel can only be described as chameleonesque; leaving you on your toes trying to pin down who the vocalist is emulating. The song “Wait” brings to mind Richard Hell’s drawl and songs “Lucky” and one of my favs off the album, “Lake”, have hushed lush vocals that are reminiscent of the Zombies, but much more relaxed, like if the Zombies knew how to kickflip and ate at Taco Bell. In the end the vocals here are of their own brand and to try to keep at this name game of who sounds like what takes away from how the singing is, which is, very good.

Ultimately, DEHD have created an album that slowly walks you through feelings and emotions in order to process things in the summer sun. When I write reviews I make it a point to listen to an album at least 3-4 times before writing a word. Everytime I listen thru this lovely album I get to the song “On My Side” and when the chorus hits I’m welled up with emotion about the memory of “Boardenburg”, the feelings of abandon and joy, and I realize that this band has punched me right in the stomach. I’m not young anymore, but I’m still young, and so are you, and that’s good and we’re going to try to make sure others know that too. Time is on our side and love is calling.




RIYL: Dirty hair doo-wop, Hanging ten at the sock-hop, Richard Hell wearing a Zommy Bamaha shirt, Feeling them Feelings

Favorite Tracks: Lucky, On My Side, Push the Crowd, Lake


Written by Ira Mason (@spookEguy420_69)

Share:

Mini Dresses - 'Heaven Sent'



I don’t think I could ever live anywhere that doesn’t have a noticeable change in seasons. Don’t get me wrong I completely understand why southern places like L.A. have their draws, the weather is incredible//sunshine forever, but there’s just something about it that my brain can’t get behind.

I was talking to a friend recently who said something along the line that they read somewhere it’s more difficult for folks living in stable climates to have more specific lines on their memories, like instead of a season they look to specific years as indicators since no markers of season change aid in their recollection. I have no citation and you can snopes me all you want, but the idea really struck a chord in me and right after that I put this album on.

Mini Dresses are a band from Boston, Massachusetts who create music that you crawl out of your seasonal depression to. Prior to this release, they’ve been consistently recording and releasing solid music since 2012. With Heaven Sent, their second full length after a self-titled album and a string of solid EP’s, Mini Dresses have really locked it in. Right off the bat “I’d Notice” comes in strong with driving drums and bass that compliments these slick dream grooves, and then there’s the guitar just willing you to open your blinds. Once you rip the curtain back, here comes the sunshine and the vocals.

How long has it been gray? God damn it’s bright, but wow I guess my body already drug me outside. I’m laying down in the grass and never moving.

Photo: Ty Ueda

The vocals on this album are pristine and the effects and production added to them only accentuate how strong they are, these aren’t masking effects, these are cherries on top. “Heaven Sent” is playing as I stroll along the street on this ridiculously Spring day; taking note of the blooming flowers amongst thoughts of relief that winter is over. This album to me is one of noticing change but also being thankful for how it got there. Winter is always tough, but I wouldn’t trade it for anything because there’s something beautiful about making memories with snow and solitude and struggle that wills spring to come and without it how do we know what progress is?

As I’m walking along thinking about all of these things, getting all up in a stoic tizzy, “Lady Running” begins and I’m stopped dead in my tracks. This is SPRING, I’ve made it once again, and I’m different than before, just take a minute. Crying as I’m walking the album continues and Mini Dresses have nailed the peaks and valleys of early spring, from “Shadow Play” to “The One Who Heard You”. Blooming, changing feelings, and a lot of dreaminess, yes thank you Mini Dresses, and thank you album art for invoking the same feelings.

In the end this isn’t a diatribe against warm climates, these folks are from Boston and I’m from Pittsburgh. This is as much a sunshine summer album for some as it is a springtime bop, but this is where I’m at now and this is how I feel about it. My only hope is you folks listen to it and feel yourself filled with bright beams and pensive thoughts in any type of variety like I did as soon as I hit play.



RIYL: Beat Happening, Alvvays, The Feelies, Beach House, Seasons changing//Sunshine//Snowfall

Favorite Tracks: Lady Running, Heaven Sent, I’d Notice, The One Who Heard You



Follow Mini Dresses



Written by Ira Mason (@spookEguy420_69)


Share:

Speed Plans - 'Eeking Out'


It’s been a while since I’ve heard an album that is THE doozy of a ripper. A lot of folks try to get that 80’s thrash-punk vibe; there’s a million bands trying to be in the Decline of Western Civilization Pt. III. Here in Eeking Out we see it done right, no copy and pasting.

Speed Plan is a thrash group based out of yinzer nation, Pittsburgh, PA, and they’re here to go
FAST. This album kicks off with 3 songs, just under or right at a minute, and this is where the
guitar takes hold of me like a demon. Whoever is plucking the strings would make Billy Zoom
proud, holy hell. By the time I’m pulled out of this trance I realize that the bass and drums have
been locked in so tight there’s a vice grip on my head and all the walls are closing in on me.

Folks, there are so many good production choices on this album. One of the best parts for me is
how well the vocals are balanced against the instrumentation. It’s disappointing when vocals are
shoved down in the mix. Ya gotta have it all blended, like the best shamrock shake (yeah we
can argue about its edibility another time) I’ve ever drank, for it to be a BOP. Props to Speed
Plan and the Braddock Hit Factory for capturing this band in all its glory.


The album and claustrophobia continue at a breakneck pace, everything feels so upfront in the
speakers. There’s no space for you to breath, and that’s how Speed Plan wants it, inertia at full
force, you can’t even pick up your arms. Highway Star is one of my favorite tracks off the album.
In the same vein as Husker Dü, this song is thrash, but it’s also pop. You gotta dance, you gotta
headbang, and more importantly you catch yourself smiling because shit, this rocks.

I’m gonna wrap this up because I want to be as quick as this album is. As Eeking Out closes the
adrenaline is still coursing through your veins, and if you thought it was wearing off near the end
the 27 second song “Standing in Front of the Machine” is here to tell you otherwise. No
gimmicks, no schticks, just speed.

You ever get on an empty stretch of road and punch it to 100? Yeah, it’s a wild feeling. Now do
it blindfolded. Take your hands off the wheel. Ok here we are in foreign, terrifying territory, but
this...this is Speed Plans' home field advantage.

Plan to go fast.





RIYL: X, Sonic the Hedgehog (don’t even think he can go as fast as these rippers), Pissed
Jeans, The Slits, Husker Dü

Favorite Tracks: Highway Star, Money, Denialator, La Crunche, Standing in Front of The Machine



Written by Ira Mason (@spookEguy420_69)

Share:

THURST - 'Project Isle Demotion'



Hey! What the hell are you doing here?

Oh wait you’ve been here, before? Well, hell. Welcome back. Pull a chair up, soak in the sewage and bad feelings. The gutter really hasn’t changed except for the soundtrack to it. Yeah, when you’re down at rock bottom you just really have to embrace it. How else are you supposed to get out?

THURST is a project hailing from Los Angeles with credits going to Kory Seal, who seems to be a driving force behind these powerful tunes, with accompanying vocals from Jessie Seal, but more importantly credited for, and god damn can you feel it crawl over you as you listen to this album, Long-Distance Hexing. This is an album, for me, that takes me back to an old house I used to live in; like yeah, I’ll get reminiscent, but then realize there’s black mold in all the walls, but also will I ever get that feeling again the first time my friends and I spent a whole day on the roof? Driving bass, a keen ear for dueling guitar instrumentation, and brooding synths make you pull and push so hard in your emotions, and THURST knows this.

On Project Isle Demotion, right off the bat, you’re thrown right into the worst night you’ve ever had; like you’re waking up from a bad dream straight into a black-out. Instead of ending up in the middle of a bar fight (think Jesus Lizard’s kick off song on Liar, “Boilermaker”) you’re in a bar where everyone is trying to convince you they’re ok, including yourself. All the while on everyone’s faces, you can see you’re all processing every mistake, every valley, ALL the emotions, at hyperspeed. “For any kind of feeeeeeeeling”. Here we are in THURST’s world, and it’s all hecked and hexed.


The album continues to shine as we move through the grime, I still can’t believe how many times I’ve listened to Public Figure and had to check to see that’s IT’S ONLY 2 MINUTES. It’s absolutely incredible how these two worlds are created so well in one song and it ends so fast. Once again, there it is, that push and pull, an argument in your own brain.

In the movie Drive, there’s a rhythm created by the score to highlight Ryan Gosling’s cool brooding, while also building an environment for what it’s like to drive around Hollywood trying to process struggle, and don’t get me wrong, it’s good. What we have in this EP is what I’d really like to drive around to in order to process my feelings. A wrestling match in my brain ensues as soon I turn the keys and hit play, and by the end I’m exhausted and can’t believe I’ve driven my car vertically, straight out of the gutter.

Project Isle Demotion is available NOW on streaming and cassette via Too Far Gone Records. This is the label's first release in over 2 years. Their taste, DIY ethics, and dedication ultimately helped shaped what would become the Crafted Sounds label. Be sure to spin this record, and check out everything else TFG has been a part of.



RIYL: Interpol, Miserable, Fine Dining//Crying in a Dumpster (Not a band)

Favorite Tracks: For Any Kind of Feeling, Public Figure, Meet Me in the Cop Car



Follow THURST



Written by Ira Mason (@spookEguy420_69)


Share:

Community College - 'Comco'


The Magical Possibility of Unlearning: A Review of Community College’s Comco

Boston based trio Community College just debuted their full-length album Comco on March 8 via Disposable America. The trio uses their songwriting to document the process of unlearning their extremely evangelical upbringing.

As much as we are constantly learning, we are constantly unlearning. The habits, vices, ideas, values that parents, old boyfriend or girlfriends, school, friends, have taught us so fickley have translated to how we think, talk, breathe, and live. This album is more about this. How do you become your own person? And what happens when all your values crumble like sand castles in front of you?

The lyrics aren't anything extravagant, they are simple and in this simplicity, you can find the profound. The way saying “I love you” can be so powerful and changing. The song “Novocaine” introduces the listener to the sadness consuming his life. The numbing agent is so wonderfully metaphor to the depression that comes into his life. A time where it is hard to feel, hard to smile, hard to live. Everything exists in waves. The 2010s have been turbulent troublesome years. Everything can feel desolate. Shooting after shooting, the rise of white nationalism, a general feeling of being unsafe. It’s hard to feel hopeful sometimes.

In “Gasoline” the voice and guitar chords change. The oh’s are painful, just a croak quivering on the vocal cords just right before a vocal break. It is like looking at a girl you used to love kissing another boy and realizing she’s moved on and you’re just existing like a dinosaur who has turned to gasoline waiting... just waiting to be used up, for your prolonged existence to just end. Or getting a fatally somber drunk, going to the bathroom to take a piss, seeing your face in the mirror and not exactly liking what you see but not knowing what to do with this news. A slow crescendo where they finally coalesce into one sound at the utter of the words “honesty is trouble to me.”


“Drunk On Sunday Morning” comes into the thick of depression. Depression, where things just aren't how they used to be. Even getting off becomes mundane and dumb. You’re tired, then you’re up for 36 hours. You’re hot, then cold. Everything doesn't change and somehow does. The landscape is too unfamiliar. It’s warping. Your insides don't feel right, like gasoline. You sleep all day yet you are still tired all the time. There is a sag to your bones, weight in your marrow.

The album ends with the song “Fine” marking coming out the depressive hole. It becomes gradually more upbeat but still somber. The song marks a change into a period of growth with hunger, sleep, and a new tattoo. Self-care isn’t always exciting, sometimes it regulating basic human behavior and needs. “Do you feel fine?,” things like these checking in with yourself so one day we can be fine and mean it. Even when you do the right things you cannot always feel “fine” there is no exact way to be “better.”

Although many great individual songs, an album is more than that. An album is a cohesive sound that needs variety. Humans love repetition, it’s comforting. We’ll make order out of disorder just to sleep at night. However, in art, we seldom do. Although songs like “Fine” break the mold in this album, a greater range and experimentation would elevate Community College’s Comco. The arc the album has presented is beautiful with the introduction of the numbing to becoming “fine.” The simple songwriting effortlessly describes this lingering sadness and has great power to it. I am excited to see what comes from Community College.





Follow Community College



Written by Rosa Pyo

Share:

AllegrA - 'yet, not enough'



AllegrA is a four piece indie-rock band hailing from the eastern side of this lovely state of
Pennsylvania. Allegra Eidinger is the songwriter and frontperson of this here lovely band, and the newest EP from this quartet, yet, not enough, is exactly what you want from an EP. I can’t say it any other way. It’s the perfect length, the right amount of songs, and as a very dear friend of mine always says, what makes an record for him is, “openers and closers”.

This EP is an intimate, emotional journey filled with some of the most subtly crafted
instrumentation that worms its way into your mind and doesn’t leave. With “Comfortable Being
Strangers”, AllegrA puts us into a pair of their shoes, trying to help us understand the importance of solitude and the sacredness of anonymity. Isn’t it better sometimes to just be in a room instead of having to act like YOU exist in that room? The sentiment is wholly relatable and with the incredible groove of the bass and drums, accompanied by the beautiful dual guitar tones, you’re completely immersed while trying to grasp the pressing thoughts of the lyrics. “Twisting Of”, the closer on this EP, and rightfully so, is the most lush of all the tracks here, ebbing and flowing so perfectly.

Ya see, that’s the best thing about this EP for me. This whole thing is able to feel like
a conversation...about Allegra’s day, instances that gave them pause, and how the heck they
can give their life more meaning in relation to a shelf they’d like to build out of materials that
originally were not meant to be a shelf. This EP creates an environment that I feel comfortable
enough to respond in a way such that memories flow out of me while I listen to it; helping to add
to this already lovely conversation. My favorite track on this EP is the opener, an folks, It’’s been
a while since I’ve been hit so hard with overwhelming emotion while listening to a song.


What’s a memory that gives you the most joy? Makes you feel the most safe? The most at peace? For me it’s a time when a whole group of friends and I went out to Lancaster to visit a friend over the holidays. We were all in really great spirits, and something just felt so comfortable about it all. Eventually, after hiking around outside for a while, we decided to go back to our friend’s house, and in our down time utilized the entirety of the basement to create one massive, blanket fort. Propped up pool cues, chairs, and a lot of the universe being kind to us that day kept this beautiful fort standing all night as we transitioned from watching Adventure Time to having some conversations that only close friends in a blanket fort could have. A space so vulnerable, supportive, and strong. How did I end up here crying tears of joy again? Whatever spirit was helping Allegra hold that chair helped to hold our fort, and with that our conversation began.

RIYL: warm beverages (not a band, just the feeling of), Snail Mail, Big Thief
Favorite Tracks: Spoon or Fork, Twisting Of





Follow AllegrA



Written by Ira Mason (@spookEguy420_69)


Share:

Harvey Waters - 'Soft'


This review has been a long time coming. Kinda crazy how life picks up and slows downs in mysterious ways. Fortunately, it is the time of year the kids call "Spring Break." Blessup. Anyway... self-described "Dreamo" band, Harvey Waters, just dropped their new record Soft a couple of weeks ago, and I'm here to make sure you get hip to it.

The record opens with a smooth buildup of guitar, vocal layering, and a nice drizzle of synth-work. Track one, "Taste," really put me in a good state of the mind from the very beginning of my listen. At first I would have said that this should have ended the record, but I do not think I would have it any other way as it leads perfectly into "Progress", a beautiful slacker pop track. This track in particular is aided heavily Grace McElhone's harmonizing vocals that sit just right. "Dreamo" sets in here with these two wonderfully put together desperation songs. 

Drifting further into this record, listeners bump into the rather welcoming drumming in "Drip." This is probably my favorite song on the record for just that reason. To my surprise, the track was shorter than I anticipated, despite the slightly slower tempo. I would come to peace with the abrupt ending as I thought through the following interlude track, "Needles." I have mixed feelings about placing pauses in records because I am not sure if they are always appropriate, but I liked this one and the one that precedes the final track on this record. I felt "Needles" served as a clear divide in songwriting on this record since b-side, if you will, is a little louder, cleaner, and confident.


The remaining tracks are not as washy as the others. They focus on sharper vocals and raw instrumentation. They stand together well in their own way as they do not fade into one another in the same fashion of earlier tracks. "Cracker" hits a little bit of that fuzzy, noisy element. "Pulling Teeth" is a wholesome breakdown that features help from Frankie (aka stolenchaptick) of Deadplant Records. The final track, "Buried," howls into space and concludes with twinkling piano and synth.

Harvey Waters has found a sound that works for them perfectly on Soft. Their emotional, jangle-heavy appeal crosses many sub-genres rooted in the worldwide DIY community. Be on the lookout for a show of theirs if you reside in the Kalamazoo, Michigan area. Soft is out now everywhere. This full record is worth your time. Spin it now. 



RIYL: Swings, Alex G, Strange Ranger, Spencer Radcliffe
Favorite Tracks: Progress, Drip, Inside 
Hot Take: Harvey Waters is your next hangover cure. 


Follow Harvey Waters





Writen by Connor Murray (@craftedsounds)

Share:

Girl Fight - 'She's a Killer'


“She’s a Killer.” Album title, opening track and first furious words. Detroit’s two piece
feminist punk band, GIRL FIGHT, have followed their 2018 debut EP, Fights Back, with 11 new
songs that spark and flare across 18 sweaty, spitty, minutes. She’s a Killer is here to use your
hair as handlebars, your stomach as a footrest and your ears as a funnel for whatever Ellen
Cope and Jacob Boyle are seething about today. You’re gonna like it.

The opening title track, is a tantrum. As is the following the song, and the song after that.
Every song on She’s A Killer is a gleeful airing of grievances. As Cope explains on “Ladder”
they “will break through your ceiling” but when they do, they will “do it with feeling.” The dullard
drum work will tell you when to stomp and when to jump because GIRL FIGHT are as inclusive as
they are aggressive. Even better, by the time most of these songs hit their halfway point the
band has usually picked a refrain or two so listeners can spazz along. “All you see in my is fear”
on the song of the same name. “I am my god” also on the song of a similar name. There are no
wrong choices.


The album is at its best when stepping away from what eventually becomes the
expected. The entirety of the song “White Girl is a perfect example and when Cope and Boyle
begin trading lines, first on “New Noise”, and then again on the impossibly infectious closer
“Out” their energy becomes exponential and it all feels that much more urgent. Even smaller
moments, like the sunken guitar EQ on “All You See in Me is Fear” or the strobbed noise solo
on the title track prove to be the kind of subtle tweaks that elevate these songs from the herd.

Though it may not be the first thing to grab your attention, the instrumentation here
should not be ignored. It is, in technical terms, dumb as hell. Cope’s drums sound like the guy in
the back of the pizza shop stomping boxes flat. If the knobs on Boyle's distortion aren’t turned
all the way to the right, I can’t tell. The music here is beyond simple. It’s also incredibly effective.
If these songs featured any more than three chords, they’d probably be half as good. GIRL FIGHT
might just be the first Detroit based boy/girl two piece to actually have the courage of its
professed minimalist convictions. As they proclaim, with what sounds more like a smile than a
sneer on “Out”, GIRL FIGHT are without a doubt, “walking the right way.”

To you Pittsburgh folks out there, GIRL FIGHT is set to play Air Studio on February 23



Follow Girl Fight





Writen by Jake Rzeppa (@getoldordietrying)

Share:

Gentle Ivanhoe Death Skulls - 'Beaches'


In the spirit of full disclosure you should know now: this album is called Beaches. Yeah, I
know. But hang on, this isn’t a “surf punk” record. Not even close. Put down that Dads reference and stamp out that five panel hat you lit on fire. We may have all once said “If You’re Song Has ‘Beach’ in the Title, I’m Not Listening” but maybe it’s time to let old wounds (and reverb damaged ears) heal. Gentle Ivanhoe Death Skulls finally have a debut and it’s only here to help, I promise.

The album introduces itself with the excellent, “Green Hang Ten”, a song that first saw release
online as a single in late 2017. “Hang Ten” rolls in on smokescreen synths and with a kinetic bassline in the driver seat. It’s dancey and just a little distant at the start and remains that way until arriving at its blissfully abrupt conclusion. It’s an opener that is both on trend and out of time; a combination that conjures atmosphere and finds the Death Skulls’ sharing a channel with the likes of Cleaners From Venus and fellow Swedes, The Radio Dept.

Where “Green Hang Ten” shines as the ear catching opener, its successor, “Heavyweight”,
rushes in to assure listeners that Death Skulls are not the kind of band to occupy any lane too long.
“Heavyweight” brings listeners back to earth with sketchy guitars and rubber stomp rhythms before the euphoric “Hairdresser” launches them back up, sky high. In fact, the latter track features a synth line so sunny it could have been lifted from the lush desktop meadows of James Ferraro's “Far Side Virtual”. It became clear, through the lofi twee of the title track to album’s midpoint, “A Clubber Lang Fan” that “Hang Ten” was only the beginning of a hot streak.


Beaches' success comes not just from its commitment to variation but also it’s knowing how to wrap a good track fast. The band sets up one song after the other, never lingering or allowing an idea to feel less than fresh. While this approach renders the second half of the record slightly anonymous, it’s likely a result of the streaming format rather than a failure of songwriting. Beaches is an album that would probably benefit from being heard in a more traditional “side A/ side b” structure. Unfortunately in the age of streaming, the highly concentrated sugar of Beaches can lose flavor after an unbroken half hour.

Gentle Ivanhoe Death Skulls is not a band without peers. In general terms they have much in
common with bigger groups such as Tycho and Hoops. However, what distinguishes Gentle Ivanhoe Death Skulls, besides their very long name, is a total lack of lethargy. The band approaches their songs with a high energy and enthusiasm that feels uncommon in a modern dream pop act. Unsatisfied to simply borrow the textures and cassette pastiche of past decades, Death Skulls are mindful enough to include the danceable “Happy Sad” songcraft that was the trademark of 80’s alternative. It makes for a listening experience that is feels at home in the bedroom, the bar and even, yeah, the beach.




Follow Gentle Ivanhoe Death Skulls

Instagram | Vimeo | Bandcamp




Writen by Jake Rzeppa (@getoldordietrying)

Share:

Listen