BANGLADEAFY - Housefly (www.nefariousindustries.com) I went back to listen to Bangladeafy’s 2018 masterpiece Ribboncutter to attempt to put myself in the proper mindset before attempting Housefly, but that was a fool’s quest-there is nothing that can prepare a person for anything Bangladeafy does, which is why I love this duo. John Ehlers and Atif Haq are master noise manipulators, but rather than the metallic barrage of flesh-ripping sound that defined their earlier work, Housefly has an industrial intonation, blended with highly agitated synth. “Bloom” has traces of Devo, but the more chaotic “Miracles” is a nightmare brought to life as terrifying beats capture the terror of fleeing for your life from a faceless entity that may or may not be one step beyond you, or perhaps the entire episode is all in your mind. The sense of confusion and unease created by Ehlers and Haq is grotesquely beautiful, such as the wild noise collage, “Shortcuts”. Blending Skinny Puppy with Wes Craven 80s horror soundtracks, Housefly is a labyrinthian maze of paroxysmal percussion and turbulent synth best embodied on “Lifeforms”, a chilling salvo of Devo spliced with Foetus that gives Ehlers an opportunity to ravage his vocal cords. Even the twenty-five seconds of piano wrapped in genteel noise one hears on “Pupa” does nothing to settle or reassure the listener, for “Tar” is a frenzied ball of rage. The songs come and go quite literally within seconds, with only two of thirteen songs hitting two minutes in length. Blending qualities of punk, jazz, noise, metal, and ambient all into a churning throng, Housefly is easily the most inimitable and necessary record of 2020. “Youthanor” is every helpless feeling people have had over the past six months rolled into one festering pile of disgust, while the three sparse “Instar” pieces are paranoia-inducing soundscapes; the dichotomy of these works embody both the tortured brilliance of Bangladeafy, and also their fearless commitment to reinvention. I understand that music such as this is an acquired taste for some, but honestly, I cannot understand how people do not simply fall to their knees and worship a band like Bangladeafy. Wake up, people!! PIMMIT HILLS - Heathens and Prophets (https://gyard.bigcartel.com/) So how exactly does one move from being members within an adored doom metal band with an impressive twelve-year history to a blustering, blues-metal machine? Apparently, it is a fairly easy adaptation if you listen to Heathens and Prophets, the rumbling mass of power from Pimmit Hills. This neck-snapping four-song EP features the opening “Baby Blues Eyes”, a track that retains all the force of classic metal accented by a distinctive Southern rock boogie ultimately resulting in hook-laden doom. While this may sound like a musical oxymoron, Heathens and Prophets is a torrent of blues-soaked guitar crunch from Todd Ingram, whose meaty riffs dominate each track, and with each song over seven minutes in length, no one here is cheated. When vocalist David Hammerly announces, “She’s a whiskey drinkin’ temptress” on the aforementioned “Baby Blue Eyes”, the line could work with artists ranging from Chris Robinson to Toby Keith, but Hammerly makes it all his own, and the guys around him generate seismic energy on “Ginger”, led by drummer Brooks and bassist Lee Walters III. Produced by J Robbins, Pimmit Hills sound pristine and punishing throughout the mountainous efforts. The meandering intro of “Lost River” glides along in an effortlessly serpentine manner towards to soaring solo that blends aspects of prog’s experimentalism and proto-metal’s rugged humility. The closing “Beautiful Sadness” sounds like a lost gem from the California Jams of the early 70s with its distortion-washed guitar and rolling low-end swagger. There is a familiarity to what Pimmit Hills does that makes them instantly embraceable, but yet their approach to modern blues is also highly distinctive. Metal was the devil’s spawn of the blues, but few bands truly embrace the result of this unholy copulation with the style and finesse of Pimmit Hills. I did not know much about King Giant, the former outlet for these guys, but Pimmit Hills has me excited for their future. BLACK MAGNET - Hallucination Scene (www.20buckspin.com) Black Magnet is a one-man industrial tour de force named James Hammontree, and Hallucination Scene is a punishing eight-song voyage of industrialized pain. The influences abound here, and every act to whom Hammontree pays homage is among true giants. The thunderous opener “Divination Equipment” has a stomp reminiscent of Streetcleaner-era Godflesh, while “Anubis” includes a dark ambient sensibility, more akin to Front 242 or Ministry. Where Black Magnet truly excels as a project is the ability for Hammontree to avoid repetition in his work, as each song possesses a strong sense of individuality. “Punishment Map” features a dizzying bed of drum and bass under heavily distorted vocals and significantly fuzzy guitar. Blending noise and brain-shaking drumbeats, Hallucination Scene hits its apex on “Crush Me”, a bleak slab of intensity with a chorus that is the musical equivalent of a power drill to the skull. Refined touches of DSBM are heard on “Hegemon”, while the closing “Walking in the Dark” has subtleties usually found in the work of Chemlab or Pigface. Furious but not directionless, Black Magnet takes the rage of hardcore, the despondency of metal, and the mechanized malfeasance of industrial to produce a record that resonates with disgust felt by and for humanity. EN MINOR - When the Cold Truth Has Worn Its Miserable Welcome Out (Housecore Records www.thehousecorerecords.com) This one could be a little difficult to explain to someone just emerging from quarantine-Phil Anselmo sings on a largely acoustic project. Anselmo, whose menacing stage presence was the centerpiece of Pantera’s metal dominance at the end of the twentieth century, has provided vocals to myriad of bands from Superjoint Ritual and Down to the Illegals, but aside from his Southern Isolation project, very little in his repertoire sounds like En Minor. One similarity between En Minor and Anselmo’s other bands is his ever-present intensity; the songs many not rival “Mouth for war” in terms of volume, but when Anselmo declares, “Love is but a word and I’m finding it hard to believe” on the opening “Mausoleums”, it is obvious that En Minor is not here to play weddings. Surrounded by guitarists Stephen Taylor, Kevin Bond, and Paul Webb, the sound on When the Cold Truth Has Worn Its Miserable Welcome Out is surprisingly dense and deeply emotive. Cellist Steve Bernal exists in lush harmony with the four guitarists (Anselmo offers guitar as well), while bassist Joiner Dover, whose brother Calvin contributes keyboards, and drummer Jimmy Bower work in unison to bring the band slowly into depths of crippling darkness on the haunting “This Not Your Day” and “Love Needs Love”, with the former including the line, ”Had she voiced her pleas, he might have killed his wife” “and the latter announces, “There isn’t a blade of grass that hasn’t been corrupted”. This type of funeral dirge is En Minor’s strength, although the band does not hesitate to experiment with structure, as “On the Floor” dabbles with a slight country twang as Anselmo declares, “Many will mourn as the headless scream, found dead on the floor”. The meandering “Black Mass” and the atmospheric “Warm Sharp Bath Sleep” are two of the finest works that mesh ethereal with gritty to produce a highly unique sound that sound like the soundtracks to vintage horror films, a topic Anselmo knows quite well. On “Melancholia”, the line “Self-loathing feels like the right way of expression” hangs in the air as ghostly guitar work glides above the sadness and confusion. It is an impressive feat to bring the darkest aspects of Americana to light in such a meaningful manner; add this to Anselmo’s ever growing list of distinctive moments. EXHALANTS - Atonement (exhalants.bandcamp.com) I admit, I am not a difficult man to please, and the Exhalants had me with the reference to Unsane in their bio. The music on Atonement could cure COVID by scaring the droplets right back into your filthy orifices, as the hard-hitting Texas trio marinates each track in a sonic bath of distortion and feedback that attempts to swallow lead singer Steve whole, but somehow, he fights furiously enough to strain his voice above the controlled chaos. “Bang” is a rolling machine of suffering that pummels all in its path as scorched earth vocals are mimicked by equally devastating playing. It is easy to become infatuated with the sheer force with which these guys play, but efforts such as “Richard” and “End Scenes” demonstrate the dazzling dexterity of bassist Bill and drummer Tom. If you fondly remember 90s noise, Exhalents will remain many of Stalwarts like Unwound and Drive Like Jehu as “Passing Perceptions” unleashes a seething mass of guitar hate and “Crucifix” is bult around Bill’s think bass line and Tom’s volcanic drumming. In addition to his guitar assault, Steve is a highly gifted screamer, consistently pushing his vocal cords to the precipice of destruction all the while remaining incredibly affective. “Blackened” swings a massive hook that becomes the song’s defining riff and a groove to which the band returns in between moments of shrill, piercing, beautiful clatter to produce a stunningly engaging din. It is a band like Exhalants that makes me willing to be the first in line for an experimental vaccine; I need these guys out on the road destroying clubs along the way. Until then, go find this. ANTHROPHOBIA - Altered States / Grind EP's (www.anthrophobia.com) After all these years, Frank Phobia may be

sh owing his age; not musically, mind you - Anthrophobia sound as raw and spry as ever on "Altered States" - but the first track on the band’s new record is called “Cliff Notes.” For those under 35, Cliff Notes were used before any online sources to help all of us avoid reading the books assigned in school; the kids today have Sparknotes and about a thousand other ways to get them out of reading, but Frank stays true to the old school mentality-quite literally. The song itself is another familiar blast of hook-laden guitar riffs wrapped around a dense low-end groove compliments of Rob DiJoseph and Dickie Delp, all topped off with Frank’s iconic vocals. He and the rest of Anthrophobia have always perfectly blended metal, punk, and spatial stoner-rock into a deeply refreshing musical smoothie, and the same formula exists here, but Anthrophobia does not simply rewrite past material. Fans have a choice of purchasing either the standalone, 6-track "Alterted States" EP, or springing for the deluxe 15-song vinyl package, which includes 2017's "Grind" EP. There are several unique features to this work - we reviewed the combined, deluxe package - with perhaps the biggest surprise here being the lengthy, meandering “Before the Crash.” Beginning quietly, the song is a slow boil of a track with the intensity gradually increasing over the course of seven sprawling minutes, with Brent Black’s dexterity shining most prominently. and the release of Altered States is one of the few events that is a positive during this otherwise nightmarish year. “Running Out of Time” is a frantic speedball of a song that still retains an easily instantly recognizable melody, while the impenetrable structure of “Take One for the Team” has Phobia growling and snarling through an opaque mass of guitar creativity once again from Black. There is an abrasive, serrated edge to songs like “Grind” and “Ghosts” that exude the band’s adoration for bare-knuckled rock n roll. “Over Reactor”, “Fundamentally Cynical”, and “Cracks in the Ceiling” all roar with blistering ferocity, revealing the band’s punk roots by infusing the songs with constant energy and each of the trio barely hitting two minutes in length. Like so many other people, I want to go to sleep and wake up in January; however, if that remains a physical impossibility, at least Anthrophobia can provide a soundtrack for this current hell. THE ATOMIC BITCHWAX - Scorpio (Tee Pee Records www.teepeerecords.com) With all of the frustration and resentment 2020 has brought, The Atomic Bitchwax’s opening song “I Hope You Die” from their latest record Scorpio, is a perfect form of catharsis. It also reflects the mood and tenor of all of Scorpio; it is a massive, pugnacious blast of bluesy, distortion-drenched force. New Jersey’s The Atomic Bitchwax, who emerged out of Monster Magnet, features bassist, singer, and lyricist, Chris Kosnik, along with drummer Bob Pantella and guitarist Garrett Sweeny, continues their tradition of Black Sabbath stomp and latter-day Corrosion of Conformity Southern swagger. Scorpio is a boisterous blast of authentic, guitar-heavy rock n’ roll, as the appropriately titled “Energy” has a hook that sneaks up on the listener with a rich tone and blunt force melody, two traits one also hears on the thunderous instrumentals, “Ninja” and “Crash”. Both tracks roar like alcohol-fueled drag racers, leaving behind only the scent of burned rubber and gasoline in their wake. “Scorpio” channels the finest aspects of Blue Cheer as interpreted by 90s grunge bands, and the bass-heavy “Easy Action” is a sleazy brew of sweat-stained bombast. There is relentless energy throughout the record and The Atomic Bitchwax does not rest for even a note, as if the band feels compelled to get everything they have out to the listeners as quickly as possible as a musical last will and testament to the world of guitar-fueled rock before COVID takes all of us. Honestly, if this is the last music I hear before it all goes black, I can live with that. It is physically impossible to not entirely immerse one’s self in the Stones-meets-Motorhead groove of “You Got It” and “Betting Man”, as Sweeney excels on both pieces. There is a refreshing purity to Scorpio that makes it a mandatory listen as every single track will melt the walls of clubs once we are allowed back in them, but this should get crowds moving even if it is livestreamed. NOFX and Frank Turner - WEST COAST vs. WESSEX (Fat Wreck Chords) This is a great idea for a split LP. NOFX takes five of Frank Turner’s tracks and applies their melodic punk energy to them, while Turner selects five of NOFX’s songs and transforms them into works of poignant, emotional toil. One should not be surprised to hear that the result of this mash-up is as intriguing as it is brilliant. The bitter” Worse Things Happen A Sea” has a snarky sense of humor illuminated by Fat Mike as NOFX blaze a scorched path through the song, emphasizing the lyrics’ tale of frustration found within relationships. “Thatcher Fucked the Kids” is less a political statement as it a realistic depiction of aging (“Anyone who looks younger than me makes me check my wallet, my phone, my keys”). Bouncing with ska grooves, the song’s hypnotic energy is infectious as Mike’s gruff v oice does a majestic job capturing Turner’s shrewd social commentary. The piano-laden “Glory Hallelujah” is the most beautiful song of nihilism one may ever hear (“There was never was a god”). For Turner, he travels less-worn paths of NOFX’s career, turning “Falling in Love” into a fragile, wonderfully moving track. While “Bob” is reworked as a gritty country song, “Perfect Government” is a swaggering, rollicking rock anthem with ethereal pop warmth. Turner’s voice is smooth and emotive, and his backing band, The Sleeping Souls, take NOFX’s affable punk anthems and place a special emphasis upon the harmonies found within each. “Eat the Meek” reverberates with a tension heard on the first generation of emo bands, illustrating the chameleon-like quality of Frank Turner’s musicianship. There is always a risk on records such as this that the result may seem either too forced or clichéd fanboy adoration; neither is true here. West Coast vs. Wessex allows a collection of imaginative musicians to place their own unique imprints upon each other’s work that reflects a sense of respect and the pure enjoyment of creativity.

GARRISON - TV or the Atomic Bomb (Artic Rodeo Records arcticrodeorecordings.com) Joe Grillo and Ed McNamara, two veterans from a pair of brilliant late 90s, early 2000s bands, Stricken for Catherine and Iris, respectively, went on to lead Garrison, a seminal Boston area outfit that were a stalwart, but fleeting, Revelation Records act. Having worked with the likes of Kurt Ballou, Andrew Schneider and J. Robbins, Garrison was an incredible, but tragically underappreciated band. It is a little frightening that a band from 2004 seems to be from another time and universe, but Garrison’s hard-driving, guitar charged, proto post-hardcore intensity shines through all twelve songs, but truly glows for me on “New Habits for Old Friends” and “I’m a Lover”. However, do not assume that all Garrison knew how to do was throw musical haymakers; “We Watch the World Come Down” has a huge hook that soars across a majestic chorus, and their raucous take of the Smiths’ classic, “Panic” is a slice of furious perfection. I had “hang the DJ” ringing in my head for hours afterwards, and I could not be happier for it. Blending the power of Unwound with the dexterity of Fugazi and just enough harmony to spice it all up gloriously, Garrison roars on “King of the Century” and “Let’s Fight”. “Stand Up and State Your Name” is a ferocious assault, but has rounded edges that provide a surprising injection of melody within the cacophony of force. “Ego” begins with nearly a minute of deliberately emerging noise before hammering away with a thunderous low-end barrage and powerful vocals. “Twenty-four” is from the band’s first demo and is a raw blast of sinewy guitar work that was a stirring example of what the band would do over the course of eight years. I am so embarrassed to say that I missed out on Garrison the first time around, but thrilled that I caught up now. HAUX - Violence in a Quiet Mind (Color Study Records www.wearecolorstudy.com) The music of Haux is able to make emotional pain tangible. Throughout the poetically titled Violence in a Quiet Mind, the London via Massachusetts native sings with an angelic fragility (“You can’t get hurt if you don’t make a sound” is one of the more poignant lines) that has often invoked comparisons to Bon Iver. That is an accurate and wonderfully complimentary statement for both artists, but Woodson Black constructs songs in which lyrics and vocal delivery mesh in a manner that connotes unbearable emotional anguish with a warmth and beauty. With his voice quivering over acoustic guitar, “Salt” is terminally gorgeous, and this structure marks the tone for all of Violence in a Quiet Mind. Accented by stripped-down musicianship, Black courageously presents his soul through often-whispered lyrics of loss and heartache. The most innocuous of phrases take on a profound depth in the hands of such a gifted wordsmith. (One such example is “Hold on to love” from “Of the Age”) The serene “Killers” is highlighted by the repetition of Black’s composed admission, “I forgive you”, and this embodies the staggering power of how language can be delivered with chilling intensity without screaming. “Heavy” is both a dazzling pop song and also an engaging journal entry set to ethereal piano and minimalist percussion. A shattering sensibility is also heard on both the opening “Hold On” and the gut-wrenching “Craving “ (“Craving for your love, craving for your touch”). This is a record to play alone in the dark and simply bathe in the sorrow. 2020 may have provided enough pain for all of us, but the cathartic quality of “Gone” (“Don’t feel like myself when you’re gone”) and “Accidents” is good for the soul. Just be sure to listen to Violence in a Quiet Mind while sober, because this could easily inspire endless drunk texts to your ex whose name you just cannot seem to bring yourself to delete.

ADVERTISEMENT - American Advertisement (Patchwork Fantasy patchworkfantasy.bigcartel.com) Advertisement’s American Advertisement introduces itself with “Freedom”, a song of buoyant pop rock reminiscent of The Fall, while fuzzier guitar tones hum throughout “Pretty Money”, a sinewy track highlighting the band’s triple guitar line-up of Charlie Hoffman, Carl Marck, and Ryan Mangione. The band fluctuates between uproarious rock energy and more subdued pieces, such as the subtle blues influence on “Days of Heaven”. The raucous “Upstream Boogie” has a Replacements-esque

bar band sensibility that resonates with the finest aspects of bare bones rock, heard later on the piano- accented ‘Shipwrecked Hearts”. “Velvet Queen” and the dark, angular “Tall Cats” take listeners back to the sound of late 80s/early 90s alternative, akin to Stone Roses or Inspiral Carpets with touches of easily accessible psychedelia and atmospheric guitar playing. The band concludes with “Always”, a sweeping, richly harmonious effort with expansive riffs and increasingly aggressive vocals that emerge over the course of seven freewheeling minutes. Advertisement has punk in its collective DNA and when they choose to select to inject elements of their history into American Advertisement, the result is powerful and authentic rock 'n' roll. HEALING POTPOURRI - Blanket of Calm (Run for Cover Records www.runforcoverrecords.com) The gentle opening “Dream Vacay” has touches of Pery Ribeiro’s “Girl From Ipanema” and that is more than appropriate, as Healing Potpourri sounds like a band one discovers in a time capsule unearthed after decades of quiet isolation. Breezy, psych-pop defines the beauty of “Blanket of Calm”(including the lyric, “it’s been a perfect day and it’s only one in the afternoon”) and the sweeping innocence of “Think About Us” captures early 70s rythyms with shocking authenticity. The band hopes to create music that “has a feeling of comfort and healing”, and one hears this proven true throughout Blanket of Calm. The degree to which one enjoys this style depends on how much value one places on serenity and wholesomeness. While “Think” connotes images of the Brady Kids or The Partridge family, such references may be lost on many listeners. Ingesting the wistful love song “Laney” (“I love reading her letters ‘cuz the curls calm me down”), makes it amazing to consider that leader Simi Sohota has dabbled in bands ranging from punk to black metal. Any sense of aggression or fury is stripped away here, leaving a collection of highly emotionally charged songs expressed through poignant lyrics that paint vast pictures with minimum verbiage. “Dustin’s Rain Tape” includes references to a friend’s mom’s boyfriend wearing camouflage, changing schools after third grade, and the serenity of listening to the rain while drifting off to sleep. “Pieces” features some of the of the darkest lyrics on the record, (“pieces of my skin rip open, it’s happened again, left feeling sore, don’t wanna think no more”), yet it is set against a bossa nova musical bed that makes even the deepest sorrow seem palatable. A similar vibe is captured through the effulgent tones of the instrumental “La Vida Tranquila”. A Blanket of Calm may be what many of us need right now-it is a luxurious collection of eleven fanciful songs that will not elevate a heart rate, but should reduce stress.

BETWEEN THE RAIN – S/T (www.betweentherainband.com/) Between The Rain is led by Detroit ex-pat Tim Donlon, and his intense vocal delivery and burly guitar playing hit instantly on “Mudroom”, the opening effort of the band’s two-song EP. Donlon moved to Brooklyn after departing the Motor City and he was fortu nate to meet bassist Victoria Rothman who, along with drummer Roddy Merchant, delivers low-end bombast on both efforts. While “Mudroom” maintains a steady, driving structure, “Fox” features varied tempos. Beginning quietly, the track flirts with hard rock swagger but demonstrates an impressive restraint that makes “Fox” more impactful. Scavenging grunge’s darker corners, Between the Rain produce thinking man’s rock without sacrificing energy for technical proficiency. Both songs are expansive tableaus constructed by a trio that sounds twice as large. This self-titled release acts as wonderful appetizer, but I am hoping for a full course of this band’s talents soon. MELODY - Teacher’s Pet (Lauren Records www.lauren-records.com) Melody Caudill is sixteen years old. That is essential to remember as one listens to Teacher’s Pet. Caudill’s five-song EP details the challenges of navigating the waters of high school through the eyes of someone actually still in high school and not angry adults looking back with disgust. Razor sharp sarcasm abounds here as Caudill’s summation of people is quite astute and well beyond her years, while her introspective investigations of self-doubt and insecurities will resonate with those for whom high school is a distant memory. Caudill openly admits on the title track that despite her efforts to be the contrary, “who am I kidding? I am a teacher’s pet”, albeit clearly, a snarky one. The warm jangle of “Hibernate” and “Room 111” capture the authenticity of Exile in Guyville delivered with the delicate beauty of a young Jenny Toomey. “You’re not yourself, you haven’t been for a while/ So I try to help any way I can, I try to make you smile/ Because I like your smile” highlights the sincere sentimentality and innocence on “Hibernate”. Each of the five songs wrestle with the realities of teenage anxieties, as she laments, “I’m tired of making myself lonely” on “Mosquito Bites”, while unrequited love takes center stage on “Superlame”. (“I think it’s super lame that the only one I like won’t look my way”). Teacher’s Pet should be the soundtrack to the summer and Melody should be adored. However, as much I love what she is doing, I hate to break it to her that the emotions and struggles she is describing at sixteen will not go away anytime soon; although, on a positive note, this means that she will be writing amazing songs for the rest of her life. OWEN - The Avalanche (Polyvinyl Records Mike Kinsella has a hard-earned, sterling reputation as a singer/songwriter, as anyone knows who is familiar with his work, including Cap N’ Jazz, Joan of Arc, and American Football. The Avalanche, his latest solo release, is a majestic and stirring collection of heart-wrenching songs laced with Kinsella’s cutting self-deprecating wit. “I have a reputation of fucking up to uphold”, he announces on “One with the Show”, and when one listens to stunningly beautiful expanse of The Avalanche, it is obvious that nothing is farther from the truth. The songs are perfect in their haunting nature with precise plays on words. On “The Contours”, Kinsella’s luxurious delivery tells the story of heartbreak and the frustration of never quite getting over it. He acknowledges that he is in therapy but notes, “Turns out all the answers are just questions”. “Wanting/Willing” features my favorite line of the record, when Kinsella contemplates, “I’m not sure if I’m funny or a joke” as gentile acoustic guitar glides sinuously behind him. Again working with Sean Carey and Zach Hanson, Kinsella creates music that is intimate and fragile, yet still overwhelming with its emotional depth. The biting “Mom and Dead” includes lush accompanying vocals from KC Dalager, and “I Should Have Known” is a breathtaking work of self-reflection and profound sorrow. (“Objects in the rear view mirror/ closer than they appear/ except for you, my dear”) At times, emotionally taxing, The Avalanche is a record of insightful, candid work that allows Mike Kinsella’s gifts as a songwriter to shine brightly. SAME GODS - Worried Eyes (samegods.bandcamp.com) There are legions of bands that are quite obvious in their homages to their respective influences, but rare is the band that openly acknowledges and celebrates that fact. Same Gods do not even attempt to hide their affinity for darker 90s alternative, as the Helmet, Jawbox, and even Hoobastank (on the bouncy “This Time”) song structures abound. The Helmet parallels I found particularly interesting, as Same Gods makes me think of a mid-90s Helmet spin-off band called Handsome that featured former Helmet guitarist Peter Mengede. Handsome had incredible potential but did not quite fit anywhere within the worlds of alternative, proto-metal and the nightmarish arrival of nu metal and so, a band with limitless talent faded all too quietly into that good night. Fast forward more than twenty years, and Same Gods may be coming together at the right time. There is a hunger for their brand of straight-ahead, harmonic guitar-dense rock, and the band sets the tone early with the methodical build up of the opening “Remission”. The song’s deliberate pace emphasizes Same Gods’ desire to wrap their heavier qualities within a blanket of ethereal force. “The Dark” and “Arrogance” both possess big hooks and melodies that can exist on an island unto themselves without needless comparisons to contemporaries because, quite frankly, there are few contemporaries to which they can be accurately compared. The band features Jon Davis of Another Breath on vocals, Brendan Flynn of Freya on guitar, and a rythym section that includes Of Fortune and Fame’s bassist Shane Conzone and producer extraordinaire Steve Sopchak on drums. Together, these four understand how to craft songs that are both radio friendly (if that still means anything) while also hitting hard enough to be the soundtrack to shoulders and back day at the gym. Conzone and Sopchak truly shine on the concluding title track, a hulking mass of an effort that closes the record with both a strong dose of intensity that is still measured by unapologetic harmony. It is obvious that the world can use the music of Same Gods; the real question is will the world get to hear it? SEER BELIEVER - Bent (Memory Music www.memory-music.net) Nick Manske is the driving force behind Seer Believer, and Bent places a new spin on indie pop by merging some of the genre’s finest qualities into a deeply emotional ride over the course of nine personal tracks. The opening “Hard” is one of a few efforts dealing with love and loss, as Manske laments, “It’s been five years now, you should know I’m not look at anyone else” as hazy guitar hovers overhead. “On God” is an excruciatingly beautiful ode to Manske’s brother, detailing his sibling’s final moments and the singer/guitarist’s feelings of loss and guilt. (“I know I should have been there for you but I thought it wasn’t your time to move on”) Reminiscent of Radiohead’s sneaky sense of melody woven with more complex structures, “On God” enfolds the listener, and it is impossible to not share in Manske’s pain. The honesty and raw candor of the lyrics make these songs remarkably powerful; as obtuse riffs barrel through “So Much Like Perfect”, Manske works through his own suffering when he asks, “Why did I ever let go of you?”, only to realize the answer in the very next line, “I guess the drugs they told me to”. By opening “Breaking In” with delicate piano, the song seems all the more massive in scope when Charlie O’Brien’s drums kick in and the song’s tale of chemical abuse takes on a greater poignancy. “Day 1” is another effort that manipulates a loud/quiet dynamic with masterful precision with Manske’s emotive vocals perfectly matching the ebb and flow of the musical intensity. “Love Much” adds a bit more noise to the angular guitar riffs that tears through the heart of the song, while a pronounced bass line is given more room to rattle the listener. Many of these tales include sentiments of regret and even embarrassment for Manske, as he lives with a perception (either real or imagined) that he has significantly let down so many about whom he cares, and “Love Much” details a person who may be beyond saving, but still Manske wrestles with his feelings of distress. (“I looked away so ashamed, I knew he needed my protection”) The dreamy beauty of “Stuck Inside” masks the dark truth about failed relationships explored by the song, and this juxtaposition of ugly truths told through beautiful music makes Bent a stirring listen. THE FOXIES - "Growing Up Is Dead" EP (wearethefoxies.com) Any band that rails against the obsession with social media, the surefire cause of the world’s inevitable destruction, as The Foxies do with “Anti Socialite”, is sure to win my respect and I am instantly intrigued here. Huge electronic beats propel Julia Lauren Bullock’s snarky vocals, sounding like the offspring of a one-night stand between Stiv Bators and Britney Spears, as she taunts and teases on “Hyper Hypo”, asking, “I wonder what you think about me”, but the answer is obvious: she does not care what you think about her. The brilliantly titled “Call Me When Your Phone Dies” embodies “Goth Disco”, the genre created by this daring trio (rounded out by guitarist Jake Ohlbaum and drummer Rob Bodley) as a pulsating groove grinds against the listener; this is the soundtrack for that moment when you suddenly find yourself making out in a dark corner of the club with this track distorting your reality, and you never even get her name. “French Boy” is a pummeling effort, fueled by angular electro-punk , while “Neon Thoughts” teases with a huge hook and Bullock’s sex kitten vocals. The EP wraps up with a straight ahead pop gem in “Deep Sea Diver”; if this one does not appear on a soundtrack to a teen drama somewhere then the world truly is beyond help. I gravitate towards the harder hitting works on Growing Up is Dead, so “Deep Sea Diver” is a bit too conventional l for me, but The Foxies have a unique twist on modern electronically-infused rock that is undeniably impressive. THE LOWS - This is The Lows (www.thelowsmusic.com The Lows love rock n roll, as in classic, huge guitars with even larger hooks type of rock n roll. It should not come as a surprise, as the five piece calls Detroit is home, and the heavy low end and thick riffs have a metallic edge made famous by that city. “Road Trippin’” is a hard-hitting, blues-drenched ode to living hard and without fear. Saturated in distortion, the song harkens back to grunge-inspired metal without actually crossing over into that genre. Do not be scared away when reading about this band’s opening slots for acts like Candlebox or Puddle of Mudd; the Lows are not the newest imitation of 1993’s model; instead, Angelo Coppala look to bring back a grittiness to guitar rock that is sorely missing. Nothing about this band is airy or ethereal, even when they try their collective hand at a more conventional mid-tempo single with “Love Will Find a Way”. The distortion pedal gets another exhaustive workout on “Purple”, a soaring explosion of guitar finesse compliments of Brandon McNall and Nick Behnan, but the guys truly lock in as one growling machine on “Wake Up”. An appropriate call to arms for modern rock, the song is an explosive barrage of blunt force as Coppala” screams, “You gotta wake up” as if he is singlehandedly attempt to rouse the world from a state of somnambulism as drummer Duane Hewins and bassist Johnny “Wolf” Abel flair with the same controlled chaos as their guitarists brothers in arms. What I admire about The Lows is they simply want to make aggressive noise that stays with the listener after the songs end, and “”Morning Light” and “Let It Go” are additional examples of a band that has found its path and is refining it to perfection. This is arena rock energy without superfluous bravado; simply stated, it is rock for rock fans. Blending sleaze with enough grime and groove to kill COVID-19, The Lows are ready to launch Detroit through yet another musical resurrection. VARSITY - Fine Forever (Run For Cover Records www.runforcoverrecords.com) Varsity’s Fine Forever, this Chicago-based outfit’s third full length, conveys all the finest features of contemporary indie pop by traveling back in time, but a little farther than one may expect. Fine Forever is not just a return to the jangly pop of the mid-90s, as “Runaway” and the title track are a pair of efforts that have a clear 70s vibe, particularly the soaring vocal on the latter compliments of the enchanting Stef Smith. Guitarists Dylan Weschler and Patrick Stanton are an ideally matched tandem, playing warm, airy riffs that elevate the majesty of Smith’s singing on “The Memphis Group” while the singer also weaves atmospheric synth swirls into the fabric of the expansive piece. Smith has a keen eye for detailing life’s more fleeting moments with brilliant clarity, noting, “Pillars scared of the community, grown up sleaze, they log on to find their freaks” on the soaring “Shaking Hands”. The Brothers Stolz (bassist Paul and drummer Jake) control “Reason to Run”, a driving, Beach House playing with The Feelies sounding song again equipped with Smith’s introspective lyrics (“Now you know how to push all my buttons, lying down in low gravity”). “Heaven Sent” includes my favorite couplet of the record (“I run the movie in your head, can you just act like you’re interested”) while deftly played pop warmth surrounds and the listener and gives a gentle hug. “Sicko World” concludes the record, and the song apparently has been kicking around in various stages of growth for three years before finally maturing to a point worthy of inclusion on a record, and the wait certainly worth it. Smith declares, “If anyone could read my thoughts, they’d lock me away, I’m just another headcase” as bouncy riffs and equally supple beats tumble around Smith’s beautiful voice until the record softly fades away. This is my introduction to Varsity, and for others like me, do not miss out any farther. Varsity has produced an impressive amount of music in a scant period of time, with Fine Forever boldly displaying a young band brimming with confidence and talent. THE FREUDERS – Warrior (thefreuders.bandcamp.com) The Freuders are a highly technically proficient four-piece from Warsaw, Poland that bring psychedelic charms to their brand of post-grunge rock. The opening “Hannibal”, with its chorus of “hanni-bal” is instantly a sing-along track as vocalist Tymoteusz Adamczyk’s voice is enveloped by dense, fuzzy guitar. ”Pulse” is fittingly driven by the bass work of Maciek Witkowski as dreamy, ethereal vocals featuring deft interplay between Adamczyk and his mates wistfully drift in the air. With subtle touches in the style of Mogwai and Red Sparowes, The Freuders have a haunting refinement to their playing, as the title track illustrates through its ability to seamlessly alternate between fragility and strength. Olek Adamski’s accompanying guitar playing helps add to the tenuous nature of the band’s sound-one is never certain if the songs with explode like a star or remain majestically composed. “Dijuth” embodies this aesthetic, and while it does continue a well-worn tradition of a loud/quiet structure, The Freuders have adeptness for constructing songs with unique hooks. The buoyant “Maria Stuart” is another exploration of nebulous guitar rock with hushed vocals and fascinating lyrics. (“Another heart broken, another life taken, another church burning, another light fades out”) Drummer Piotr Wísnioch clears a path on the darker and heavier “Barbed Wire” as Adamczyk and Adamski once again engage in a battle of shared vocal responsibilities, while “Tension” dabbles with a more pop-friendly sound with one foot still planted in early 90s indie. The concluding “Anamnesis III” is the only song no delivered in English by the Polish act and this aspect makes the song all the more captivating. The richness of the distortion-drenched guitar playing works in ideal tandem with a broader vocal accompaniment due to the performance of special guest Lukasz Zurkowski, as well as a concluding two minutes that is steeped in Mother Love Bone-era grunge. This is a familiarity to what The Freuders do, but not repetitiveness. The guys undoubtedly pay homage to influences, but do not replicate them chord for chord. This is absolutely worthy of seeking, for The Freuders merge together various styles into a compact and inspired musical package. LET IT COME DOWN - Songs We sang in Our Dreams (Joyful Noise www.joyfulnoiserecordings.com) Kramer is a name known throughout the punk and post-punk world dating back to the late 1970s, but many became familiar with him trough his seminal work managing and developing the Shimmy Disc label. Now, entering his sixth decade of musical influence, he has joined Joyful Noise as their Artist in Residence, a position that will see Kramer release a staggering five records this year (!), he has announced plans to resurrect Shimmy Disc, and released Songs We Sang in Our Dreams, a majestic collection of serene beauty under the moniker of Let It Come Down. Joining forces with Xan Tyler, a woman, who fittingly Kramer has noted “hearing her voice in my dreams”, the songs on Dreams are just that-subconscious visions brought to life through warm, poignant vocals and stirring playing. The songs, like dreams, range from lucid to hazy, easily graspable to complex, and the interweaving of Kramer’s musicianship and Tyler’s voice makes the entire collection an impactful listen. The aboriginal tone to the opening “Moonlight” establishes a mood that Kramer and Tyler carry through the rest of the record. While each song is distinct in style and substance, there is a commonality that weaves through this immaculate musical mosaic. Precise and delicate acoustic playing surrounds Tyler’s angelic vocals. “Forget” opens with a Beatles-esque vibe, blending rich pop hooks and subtle psychedelia to create a theatrical experience in barely four minutes. The one-two combination of the stirring “Vicky” and the sensual “Fingers” (“I love to rub my fingers through your hair as you come and go”) are the literal and metaphorical centerpieces of a dazzling collection of songs which also include unique, fleeting interludes of jazzy, spoken word, piano-kissed, weirdness (“One Moon”, “Two Dreams”, “Three Wishes”, and the closing “Four Hands”). The ethereal romance of “Uh-Oh” embodies the overwhelming ecstasy of a relationship so many wish they could have. (“Is this too much love? Is this too much for you? Is it clouding the sun? Or does it warm?” and “It was freezing outside/to keep myself warm inside, I think of you”). Talents such as Kramer are rare, and this release is ideal for both the well versed and those new to his genius.

CLOSE THE HATCH - Modern Witchcraft (Red Moth Records https://redmothrecords.bandcamp.com/) Glacial in scope and speed, the thunderous sludge metal grooves of Close the Hatch take a genre that can, at least to my ears, become redundant and pepper it with unique subtleties that remain true to what past giants have achieved but also update the sound with adroit skill. The opening “Death of Wolves” easily slides between pummeling and surprisingly serene moments as Steve B’s vocals penetrate into the wall of force provided by he and fellow guitarist, Shaun O. A similar sensibility is heard on the title track, as the song begins as an airy, ethereal piece with ample room to breathe. However, as Shaun H.’s drums begin to hit more fiercely and the vocals intensify, the song becomes increasingly claustrophobic and disquieting. This ability to control mood through tempo is the goal of most sludge/doom metal acts, but it is an intricate skill not easily accomplished. I also appreciate how Close the Hatch do not feel compelled to prolong any of their works-these are not twenty-minute long opuses; instead, the foursome (rounded out by bassist Josh G.) make an immediate impact and move on to next idea. “Thorazine Empire” is three and half minutes of powerful, masterfully manipulated blunt force that revolves around a discernable riff and memorable hook; two traits not particularly prevalent in many bands of this ilk. “Cordial Medusa” and “Attunement” are similar in nature, as they two, are the length of most standard pop songs, but carry an extraordinary amount of weight within their scant time upon the Earth. Creating broad, atmospheric soundscapes that are equally haunting and heavy, Close the Hatch push this particular brand of metal forward, with “Persona Non Grata” acting a template from which legions of other acts should study. There is a celestial beauty heard within these songs reminiscent of the best moments of Candlemass, Neurosis, or Solitude Aeturnus. These guys have created six albums in under a decade, proving that they are not only skilled but also highly productive, and I for one hope that Modern Witchcraft expands the notoriety of this band well beyond their native Ohio. ELIZA NEALS - Black Crow Moans (E-H Records www.e-hrecords.com) Having loved her previous work, I am thrilled to hear the latest from blues-rock goddess Eliza Neals, and Black Crow Moan continues her tradition of forceful, classically styled blues-rock. “Don’t Judge the Blues” warns people to not prejudge the performer of this most American of all genres, noting that we are “sisters and brothers” as an all-star collection of players deliver a high-energy groove behind Neals’ commanding voice. Neals is a star with enough talent to illuminate an abandoned street corner at 3am with her performance on the sultry “Never Stray”, but her talents are illuminated through the accompaniment of well-versed musicians such as Bruce Bears, Lenny Bradford, Howard Glazer, Derek St. Holmes, and even her sister, Valerie Taylor. The slow, sexy slide guitar that drives “Why You Ooglin’ Me” connotes the sonic origins of the blues and is the type of song that should not be allowed to be played before midnight. Joe Louis Walker shines on a pair of tracks, adding to the bounce of “The Devil Don’t Love You” and helping to solidify the rousing title track as the finest gem of the bunch. Moving with a poignantly deliberate pace, “Black Crow Moan” borrows from the depths of the blues soulful pain, and the chorus is delivered with the mournful expressiveness of a spiritual. “Ball and Chain” is a dazzling exhibit of Neals’ impressive range, as she moves from guttural groans of frustration through spiraling blasts of vocal gymnastics, holding notes to emphasize the agony of those “mean, mean things” she says were done to her. The concluding volley of the words “wrapped-up” that Neals delivers to conclude the song embodies the finest aspects of what the blues has to offer and harkens back to the best who have ever done it. “Hey, Take Your Pants Off” concludes the record with a blast of old-fashioned fun that is a departure from the emotional anguish one hears on so much of Black Crow Moan. For those who appreciate the foundations of rock n roll, Eliza Neals is a must; do not allow this one to go unnoticed.

MARK LANEGAN - Straight Songs of Sorrow (Heavenly Records www.heavenlyrecordings.com) Mark Lanegan is most known for his work in Screaming Trees, but that band broke up twenty years ago, and over the course of the past two decades, Lanegan has created a remarkable and varied collection of unique solo work. “I Wouldn’t Want to Say” vibrates through a rich, experimental sound with mechanized vocals and a drum n’ bass style musical bed that quickly introduces a record of varied and profoundly personal songs. My favorite track here is “Internal Hourglass Discussion” which has similarities to the opener, but with a darker, trance style that is richly enjoyable. “Apples From a Tree” and “This Game of Love” are both delicate and immaculate in tone, with Mark Morton of Lamb of God contributing his skills on the former and Morton is heard again on the equally beautiful “Hanging On for DRC”. The latter is a heartfelt ode to Dylan Carlson of Erath, another potential casualty of the drug-addled 90s and early 00’s, but like Lanegan, survived (“We should be gone/you and me still hanging on”). “Ketamine” possesses a similar nature, with poignant and emotionally penetrating lyrics (“Give me some Ketamine so I can feel alright/to hide my true dark nature/to keep it out of sight”). “Bleed All Over” contains a dance groove that is not as robotic as “I Wouldn’t Want to Say”, but with its astral vibes, the song resonates with a distinctive synth-pop sentiment. When Lanegan is not generating wildly creative and hypnotic anthems, the other side of Straight Songs of Sorrow is quite refined. Wistful guitar wafts throughout “Stockholm City Blues” (“I paid for this pain I put into my blood”) accompanied by haunting strings, and “Daylight” has an ethereal drone that is interrupted by sudden guitar rumbles that will violently shake anyone from rest. “Dying Rover” features a guest spot from Zeppelin’s John Paul Jones and includes the confession, “I’m just a sick, sick, man”. Regardless of the critical and self-flagellating view Lanegan takes of himself, it is impossible to not be swept up in his ability to bare the frequent ugliness of his own past, for he does so with both an unflinching honesty and a keen appreciation of just how fortunate he is. When he admits, “You could never tell me that enough’s enough” on “Stockholm City Blues”, Lanegan reflects back with a despondent clarity that comes through maturity but also when one looks around to see many of his friends are no longer alive. This is evocative music, particularly when Lanegan strips away the electronics and allows the listener to crawl inside his voice and truly feel the pain being (hopefully) exorcised. Always a talented writer, Lanegan takes listeners deep into emotions and situations few will ever find themselves and does so with limited words; his phrasing is often truncated and therefore more cutting. This may not cheer people up while they are stuck inside with their families, but if one can find time to slip away, Straight Songs of Sorrow marks the passage of time, the agony of self-inflicted wounds, but also the power of redemption and the resiliency to persevere.

THE DIRTY CLERGY - In Waves (Cornelius Chapel Records www.corneliuschapelrecords.com) The opening chords of “Trials” instantly displays the deck of cards with which The Dirty Clergy plays; namely, big, arena-rock with a touch of blues in the style of Tom petty or even ELO. The deliberate pace of “Born to Lose” invokes images of honky-tonk bars with spit-stained floors and ragged bartenders, and the song’s crescendo builds steadily over the course of four and half minutes. All of this reminds me of Columbia House’s legendary offer of thirteen 8-track tapes for a penny; there is an aura of nostalgia throughout all of In Waves, and this resonates even when the guys borrow from slightly more recent times. “Young Lovers” assembles an Oasis-themed chorus, but regarded of the era from which they draw influences, the music of The Dirty Clergy is material you have heard before, just under different names. The airy, ethereal headspace of “Homesick” and “West Coast” is lovely, but the songs struggle to hold my attention, although the theme of contemporary violence, particularly among America’s youth does give “Homesick” a level of depth worth celebrating. I love all aspects of old-fashioned, no frills, rock n’ roll, but too often, the songs sounded like starting your car in the dead of winter; you can hear them revving up a bit, but the tracks never quite run smoothly. For an Alabama band, there are no country-rock sounding pieces here, and instead, the guys tend to look to crowd-pleasing anthems from the era of Watergate pardons and gas crises. “Parades” has a subtle downhome, folksy sensibility, but the vast array of the material on In Waves is safe sounding rock with just enough outside influences to stay above the trap of falling into the pit of allowing mainstream structures to become mundane. The Dirty Clergy are not here to reinvent anything; in fact, their primary mission seems to provide comfort through the familiar. To that end, they succeed. PROTAGONIST - Fallout From the Chronicle (protagonist.bandcamp.com) I was introduced to the voracious punk spirit of Protagonist five years ago, and I am very happy to hear of their return in 2019 with a trio of pugnacious singles. In 2020, the band brings Fallout From the Chronicle, a retrospective of sorts that has the band looking back upon the era of their blazing 2009 release, The Chronicle. The opening three efforts are the aforementioned 2019 singles, but the origin stories of these songs date back to 2007. The explosive power of “The Killing Fields” is a punishing blast of hardcore intensity and impassioned vocals, accented by slightly ska-like breakdowns. The song is, fittingly, homage to looking back upon simpler times, embodied by the closing words, “I wish I was five again/sitting back on the grass/staring at the sun, a smile on my face/without a care in the world”. While “Generation Lost” begins with benign piano, it abruptly shifts gears into a shredding declaration of lost faith (“we do not have your answers”). “Reasoning With Time”, the briefest of the bunch, is a driving yet richly harmonious work that keeps the angst in the forefront but also possesses a melody that one cannot ignore. In addition to scalding originals, Protagonist places their own spin on a classic from two Philly heavyweights Violent Society (“Totally Fucked”) and three tracks from The Boils (“Dependent”, “Paper Dolls”, and “Gone Dead, and Buried”). Acoustic versions of “Iamtheghost” and “Charge” revel the depth of the band and their expert marksmanship as musicians, as each song is equally poignant with thematic similarities. Fallout From the Chronicle is both a retrospective on what once was and a celebration of the present and what is; however, regardless of the ages of the material, it is great to have Protagonist back.

THE NEW REGIME - Heart Mind Body and Soul (Another Century/Sony Records www.sonymusic.com) Ilan Rubin performed at Woodstock ’99 at age eleven and has never looked back, continuing to provide his drumming precision to Nine Inch Nails, Paramore, and Beck among many others. As The New Regime, Rubin plays every instrument and does so with nearly terrifying ease, moving from NIN-style dark ambience on “Destructive Patterns” to arena-rock vocal harmonies on “Surreal Disasters”. Along the path of these two extremes, one is treated to richly harmonized songs that could even make me dance, namely “Feel No Pain” and the title track. Rubin explores a multitude of styles on Heart Mind Body and Soul, from the haunting and poignant acoustic driven, “She Had Me Wrong” to the anthemic alterna-rock of “I’ll Never Let You Let Me Down” and “It’s Gonna Be Ok”. It is on these aforementioned latter efforts where Rubin truly astounds, as he blends the warmth of Muse and the hook-laded components of Thirty Seconds to Mars into a swirling mass of sound that has mass appeal. The chorus of “Surreal Disasters” is a musical earwig as Rubin’s voice soars and balances aggressive guitar playing and sensitive lyrics with deft ability. The overwhelming majority of the songs have a likability factor reflective of bands that could play a Super Bowl halftime without selling their souls, and for that alone, one must pay immense tribute to Rubin’s extraordinary faculties. Released in three separate segments, Heart Mind Body and Soul has distinctive personality shifts throughout, but there remains cohesion of raw emotion and vulnerability that unifies the sixteen songs. The soft, wistful “Tell Me What You Want” exists perfectly along side the Trent Reznor influenced, synth rage of “Turning a Blind Eye” as both songs are wholly reflective of Rubin’s passionate songwriting. Twenty-one years after opening Woodstock ’99, Ilan Rubin is still dazzling people. SCREECHING WEASEL - Some Freak of Atavism (Monona Records) Atavism, by definition, is to revert to an ancestral action or quality, and one can say that Ben Weasel does just that here. This is not a concept record or anything esoteric; instead, SW returns to what the band is always best at doing, which is of course, snarky, pop-slurped punk songs about love, frustration, and the general stupidity one finds in life. The opening “She’s Not Your Baby” is a MXPX-esque warning to would-be controlling tough guys out there as Ben instructs, “She’s not your baby, little man” if “this is the one you want to marry”. Naturally, to some, this will be Ben Weasel lecturing about how to treat women which may arouse some angst, but all I know is this record is a declaration that Screeching Wesel wants to once again hold a master class in pop-punk brilliance. While there are some speedy, quick hits like the rambunctious “Brain in a Jar” and the rockabilly feel of “Problematic”, Some Freaks of Atavism also contains “Bleed Through Me”, a four minute, hard driving effort with a big chorus and rollicking guitar. Failing at love remains a central theme of Ben’s life as “Crying Shame” captures Joe Queer’s aura (“That ain’t nothing but a wedding ring/ a piece of metal on your finger/no one cares”) and “Never Been in Love” which may either be a song of regret or boasting (“I’ve never been in love/I haven’t got the time or inclination”). At their core, Screeching Weasel has always been able to offset punk’s energy with an injection of harmonies to soften the edges without falling into a sugary abyss, and “To Hell With You” and “Dead By Dawn” are the finest examples of this skill. I was truly hoping that the latter was a Deicide cover, but when Ben declares, “tonight I’ll swallow your soul”, one hears a subtle nod to the legendary Evil Dead II. The lanky kid who made BoogadaBoogadaBoogada over thirty years ago may have grown up, declaring himself a “twenty-first century man” in “God Help Us”, but the fundamental instincts of Screeching Weasel return triumphantly on Some Freaks of Atavism, and we are the beneficiaries.

WITCHSKULL - A Driftwood Cross (Rise Above Records www.riseabovereords.com) I will happily admit that when a band called Witchskull lands in my inbox and the opening track is a CTE-causing blast of rumbling sludge and psychedelic metallic riffs called “Black Cathedrals”, I am instantly transported back to middle school when pentagrams, backwards messages, and the symbolism supposedly found on the covers of Ozzy records had me heart and soul. This entire record brings me pure happiness, and if this quarantine never lifts, at least I can go insane listening to one of most glorious metal records I have heard in a long while. The thunderous nature of the opener is merely an appetizer for the darkness one hears from this bombastic Australian trio. Yes, the Sabbath influences are obvious and plentiful, such the menacing gallop of “Nero Order”, but the groove of “Baphomet’s Child” cannot be merely imitated by listening to Vol.4 on repeat; there is a purity to what these guys do that makes them more than a collection of heavily bearded (two-thirds of the band, anyway) veterans yearning for the 70s. Guitarist/vocalist Marcus De Pasquale has a vocal delivery as distinct and dominant as his guitar playing, most prominently heard on the lumbering juggernaut, “The Silent Place”, while bassist Tony McMahon simply devastates people on both “Black Cathedrals” and the tsunami of blunt musical force that is “The Red Altar”. Collectively, Witchskull prove that speed and ferocity does not always translate into truly heavy music, for the scream that announces the chillingly fierce hook of “Nero Order” will keep listeners up at night. “The Red Altar” is a monolith of a song moving at a glacial pace that allows the listener to hear each bone shatter and ultimately smell their own rotting body before finally succumbing to the pain. The fury of each song is held together by the perfect time keeping of drummer Joel Green, who spent time in Australia’s legendary speed metal beasts, Armoured Angel from the late eighties into the mid-nineties, and his pounding strength impels the speedier, deflagrated nature of “Dresden”. Sleep-meets-Cathedral style stoner rock dominates the ironically warm tone of “March of Winter”. The closing title track is a towering wall of fuzz-out force that envelopes all in its way through a sinewy song structure and obstreperous concluding two minutes. Bang the head that does not bang while listening to this, but if that does not seem like fun, have a couple of edibles and watch to see where Witchskull’s journey takes you. (D)JURET - De Få Som Kan Se (sv-se.facebook.com/djuretpunk) Literally translating to “animal” in Swedish, Djuret is a very different type of punk animal. The music is everything one would want in a punk act-the songs are aggressive, fueled by huge guitars, and have a plethora of gang vocals. However, there are instantly noticeable differences about this band that extends far beyond the Swedish language delivery. The work of Djuret are anthemic and fleshed out in a manner that separates De Få Som Kan Se from other punk works. “Trîtt” contains pummeling drums compliments of Könas and an abundance of sing along segments that have the resounding energy of a crazed soccer stadium due to the combined vocals of Förman Fred, Trädgårdslyktan, and Martin Sven Martinsson, the last of whom also delivers spoken word to the opening “Tellus Ab” without sounding the least pretentious. “Piller” has a ska-style breakdown peppered by precise injections of guitar noise while still surrounded by chorale vocals and stirring guitar from Fed. Additional percussion and synth touches are added by Ämil Hednamannen and Dolph, respectively, and nothing done here seems out of place. The alternative version of “Piller” blends aspects of folk, punk, and even the symphonic dissidence of Scandinavian black metal into a nine minute, richly tumultuous, aural stew. This is guaranteed one of the most unique releases of the year as multiple art forms collide in a fascinating experiment that shatters expectations and ignores traditional boundaries. THE DREAM SYNDICATE - The Universe Inside (Anti Records, www.anti.com) I am always intrigued by bands that play their music in a fearless manner; often, this means that these artists create music that dare the listener to stay with them, challenging the traditional constructs of what songs should be. The Dream Syndicate certainly throw down the proverbial gauntlet on the twenty-minute opener, “The Regulator”, setting the stage for a swirling, exhilarating journey through five expansive works of musical brilliance. While the band first raised eyebrows and generated confused gazes from those ill prepared for their musical visions in the early 80s, Steve Wynn and longtime counterparts, Dennis Duck and Mark Walton will certainly have The Universe Inside met with furrowed brows and gaping mouths. Despite only containing five songs, The Dream Syndicate treats listeners to roughly an hour of music that is highly non-conventional and yet traditional, psychedelic and still grounded. The luxuriant soundscapes that define “The Regulator” are created through sinuous musicianship, led by the indomitable Steve Wynn, but it is the accompaniment of saxophonist Marcus Tenney and sitar from Stephen McCarthy that make the song such a treasure. Blending Eastern flavoring with soaring electronic jazz and controlled experimentalism, the song is a complete listening experience more than a singular song. The title track is a fittingly morose effort, moving with greater deliberation driven by restrained noise compliments of Wynn’s guitar and his soulful vocals. The subtle alto sax woven so beautifully within the effort gives the song a sensuality and profound emotional power. “Apropos of Nothing” features a more conventional arrangement, but even here, The Dream Syndicate plays with the parameters of pop by infusing subdued dissonance and ambient touches into the song’s vast expanse. With dashing sax work, a jazz-funk bass line, Latin American-inspired percussion, and a serpentine nature that hurdles towards a noisy crescendo before calming its nerves once again, “Dusting Off the Rust” is reminiscent of Miles Davis’ most brazen and inspired moments on Bitches Brew. The Dream Syndicate is a band of visionaries and virtuosos, two adjectives one hears too infrequently today. The Universe Inside is just that; a cosmic, sprawling demonstration of lush poetic beauty. After nearly fifty minutes of extraordinary playing, I am saddened to come to final effort, “The Slowest Rendition”. Gentle and celestial, kissed by elegant sax work and Wynn’s Lou Reed-esque spoken lyrics, the closer is a tender farewell to a record of exquisite grandeur. It will difficult to be moved more profoundly by another work this year. STRFKR - Future Past Life (Polyvinyl Records www.polyvinyl.com) Strfkr, the labor of love from Josh Hodges with the delightfully cheeky moniker, returns with more airy pop sweetness. The record has a winding narrative in regards to its creation, as Hodges collaborated with Mathias Janmat and David Hoogerheide, two strangers who became friends while Hodges was in Amsterdam. The pair was introduced to Hodges through a mutual acquaintance who happened to be staying Hodges pace while the singer was in Amsterdam. Once back home in the States, Hodges took the ideas and skeletal songs structures to bandmates Shawn Glassford and Keil Corcoran, and the result in Future Past Life, a collection of danceable, disco-esque dance pop with a tangible Euro flair. However, while keys float across songs like “Never the Same” and “Second Hand” like apparitions in the one room in the house the previous owners never told you about, the band also demonstrates how acoustic guitars were the building blocks for these songs. The duo of “Better Together” and “Budapest” (the latter featuring fellow Polyvinyl pals Shy Boys) has far more pronounced guitar playing and the keys act as accompaniment. What makes this record work is that each song, regardless of form or tone, works and ultimately succeeds in its goal of creating infectious, albeit sugary, dance music with just enough atmospheric touches to provide Strfkr with an instantly distinctive sound, as if the Pet Shop Boys hung out MGMT. The fragile “Palm Reader” comes and flees quickly as Hodges chokes out the fading message of “just be honest with yourself” around minimalist playing that acts a powerful departure from the upbeat tempos that dominate the record. The band provides an intriguing paradox of sentimental, and at times profoundly meaningful, lyrics wrapped around silky compositions with a production quality that results in a dazzling sheen, best heard on tracks like “Dear Stranger” and “Sea Foam”. “Pink Noise” flirts with shoegaze and softened noise, but still retains a cheerful keyboard riff as the centerpiece, proving that the band takes chances but does not sacrifice their true mission. “Cold Comfort” concludes the record on a false cloud of serenity, for th ere is a highly uneasy nature to the song as the keys sound more ominous than relaxing and the understating loop of noise offers a inescapable feeling of claustrophobia. This final effort was my favorite of the bunch as Strfkr moved away from blissful keys and tuned them down to create musical anxiety. The uncomfortable atmosphere remains after the song fades, and illustrates to me how Strfkr can offer a wide array of musical options to an equally diverse audience. THE BLACK WATCH - Brilliant Failures (A Turntable Friend Records www.aturntablefriendrecords.com) This is the eighteenth (!) record from The Black Watch and I have no idea how I missed the first seventeen, but Brilliant Failures is a fine introduction to this band if you are like me and have apparently lived under a large rock for the past two decades. The Black Watch’s sound is a largely dreamy approach to lush pop songs hugged tightly in the arms of jangly guitars and soulful vocals compliments of John Andrew Frederick, who also happens to be a professor of film and literature. The title track includes the line, “all you’ve ever known is brilliant failures”, and despite the use of the term “failures”, there is still a positive quality to the phrasing, solidifying the belief that one learns best from the missteps in life. The ability to find hope in the midst of despair reflects the musical beauty of Brilliant Failures in general, as The Black Watch examines a wide array of pop sensibilities here. “Twisted Thinking” sounds as if the Replacements decided to quarantine themselves for a year with only the Smiths catalog for companionship, while “Crying all the Time!” has a rougher approach that is more aggressive than its counterparts, but still fits majestically within the expansive ocean of sound one hears within. The songs are breezy, often ethereal slices of precisely detailed anthems of profound emotion, best heard on the trippy pop aesthetics of “Red Dwarf Star” and the late 80s/ MTV’s “120 Minutes”-era characteristics of “Mind You Know”, a song that also includes my favorite lyrics of 2020 (“Being happy isn’t easy/It isn’t easy being happy”). “Hodophobia” has a soaring energy that accompanies its hazy vocals and folk-pop structure, accented by gentle waves of guitar, while “One Hundred Million Times Around the Sun” somehow possesses both a dusty stomp and a pristine serenity. A similar tone is heard on “What I Think”, a song that throbs along at a bristling pace matched by immaculate production and a strong delivery. “The Personal Statement” has a despondent beauty as Frederick captures Robert Smith’s poetic melancholy with hints of psychedelic qualities. There is a nearly limitless amount of aspects to love about this record; it looks like I have a lot of music to catch up on concerning The Black Watch. FIRE IN THE RADIO - Monuments (fireintheradio.bandcamp.com/) The third release from the Philly-based four-piece radiates energy from the opening blast of “Let’s Get to the Start”. Each song is a controlled explosion of guitar-driven indie rock goodness with just a pinch of pop sweetness and cleaver lyrics (“gravity has always pulled me down” from “Gravity”). Japandroids’ Jesse Gander handles the production of Monuments that offers a bit of insight into the flawless constructs of Fire in the Radio. Each instruments shines and shimmies with infectious hooks, and the band meshes rythym driven alterna-punk with rich harmonies, particularly the glimmering “Rewind”. Monuments brought me back to the 90s as memories of Ned’s Atomic Dustbin, the Doughboys, and Manic Street Preachers came flooding back; however, Fire in the Radio take that foundation and injects a modern kick in the vein of bands like Beach Slang and Surfer Blood. With each track hovering around three and a half minutes, Fire in the Radio never wear out their welcome or overuse an idea; in fact, efforts such as “I Said” and “Breaking” leaves the listener desperately wanting more. The stampeding “Ex-SF” proves that the band has the capacity to rattle some walls as they tap into a Jawbreaker-style vibe, and the song’s intensity is magnified by its juxtaposition with the more sullen “This is My Document”. “Sing, Sang, Sung” is a classic break-up song with the cutting line, “Will you miss me when I’m gone/You say we will move on”. I adore this, and Fire in the Radio perfectly embodies the potency of the golden era of indie rock and play with outstanding talent. This will cheer people up as we all attempt to figure out how to exist within the confines of our homes. LOST ROMANCE - Strum It Again (lostromance.bandcamp.com) The ability to play truly effective power indie-pop is a fine art and one hears a great representation of this style on Strum It Again from New Brunswick’s Lost Romance. Each of the eight songs are rollicking, guitar-fueled anthems about broken hearts, frustrations, and yes, lost romance, but nothing about them is formulaic. Instead, guitarist and vocalist Gerry Perlinski has complete control over his voice and never pushes himself beyond his boundaries, thus keeping the songs neat packages of well-constructed, grounded rock n’ roll. There is an authenticity to this that cannot be forged, and efforts such as “Heart On a Wire” and “Turn Away” bash away with forthright energy. When Perlinksi says, “It tears you apart from the inside” on the aforementioned “Heart”, one also hears an indomitable rythym section of bassist Dan Haag and drummer Mohamed Amine Smires. This roaring pair provides ample muscle throughout the record. While the songs may address affairs of the heart that lean towards one’s sensitive side, the stories of emotional pain are contrasted with a smash and grab musical philosophy that highlight the poignant “Come Down” and the gritty rumble of “I Want You”. The fuzzed-out tone of “State I’m In” takes me back to mid-90s college rock with a distinctive Archers of Loaf vibe, while “Face to Face” is a slickly delivered slab of jaunty guitar pop, and when the refrain of “let’s go!” hits, it is impossible to not get fired up and sing along, even if you are currently locked away in an effort to escape a global pandemic. A positive energy permeates Strum It Again that is uplifting and fun without minimizing the band’s ability to also grab listeners by the shoulders and shake them. Lost Romance borrows from successful formulas of the past but delivers those ideas through their own distinct lens. THE GUNGANS - Meesa Meesa Meesa (thegungans.bandcamp.com) For those of you who are too young, too cool, or too scarred to remember, the title of the Gungans release is a reference to infamous Star Wars character Jar Jar Binks, who was a member of the Gungan species. His role in the Star Wars prequels and the irreconcilable damage wrought by this CGI nightmare should be saved for another time (or revisited by traveling back in time about twenty years), but what cannot be denied is the delightful madness of Grim Deeds, the mastermind behind this side project. As a man who has written songs on topics ranging from divorce to public suicide to a eulogy of Oderus Urungus from GWAR, and even co-wrote and recorded “So Listen, Ben” with a certain Jersey-based fanzine editor, it is not a surprise that he would attach his skills to a culturally maligned, albeit highly acrobatic, side-kick from possibly Lucasfilms’ lowest moment; I only add the caveat “possibly” because the interaction between Natalie Portman and Hayden Christiansen may still be worse. Still, “I Love Jar Jar Binks” is only one song. For the rest of the album, we’re treated to ten rapid-fire, easily memorized blast of sugary, punk-pop heaven. Every song is equally great, but there are some that are more equally great then others. Screeching Weasel/Mr. T Experience riffs run rampant throughout Meesa Meesa Meesa, but particularly buoyant rhythms and appropriately light-hearted backing vocals highlight “Action Figure Collection” and “He’s a Brony”, a loving homage to that distinctive slice of male humanity “obsessed with My Little Pony.” “I Love Jar Jar Binks” wraps itself around a tightly wound riff and a lyrics of true independent thought by declaring “I don’t really care what anyone else thinks/I Love Jar Jar Binks”, and is followed by the delightfully goofy “I Want to be Japanese” (“I want to read more manga everyday”), a track similar in tone and tempo. The Gungans pick up speed for the closing trio of tracks, particularly the Ramones/Queers surf-punk vibe of “I’m a Cretin” and “Laptop Punk”, a song that acknowledges that as “a middle-aged dad” with a “real day job”, it can be tough to be in band, so just Grim has to accept the fact that it is cool to “have fun just writing songs at home”, even if he does so with a “hand me down iPad”. Grim Deeds possesses an ability to both celebrate and properly mock the importance of pop culture and his talents shine brightly once again with The Gungans. MAYFLOWER MADAME - Prepare for a Nightmare (Only Lovers records www.onlyloversrecords.com) Oslo’s Mayflower Madame introduce themselves perfectly with the opening chords of “Prepare for a Nightmare,” as coarse, haunting tones instantly transport listeners back to the nuanced dark wave of Joy Division, Sisters of Mercy, and Red Lorry Yellow Lorry. Trond Fagernes has a voice reminiscent of Peter Murphy as he emotes his lyrics with a sense of controlled torment on “Vultures” when he states, “I’m cynical, I’m sick of it all, how did it come to this?” as atmospheric keys from Kenneth Eknes float around his words. A steady, low throb is the fuel for the vast majority of the work here, including the stunning, mid-tempo trauma, “Swallow” (“When you see me tremble at the end of the rope/When you see me stumble at the sight of hope”). The band’s crescendo may be the highly apropos “Ludwig Meidner”, as the song’s stifling nature is reflective of the menacingly tense work created by the legendary Expressionist, with Fagernes’ repeating the ominous line, “I’ll be dancing on your grave”. The band began rehearing in a nearly abandoned industrial building, and one can hear the emptiness and despondency of such conditions throughout the record. The circuitous nature of “Never Turning (In Time)” surrounds the listen with a blanket of suffering and impenitency (“You’re my favorite time to kill/the last flight before my body dies”), an aura also felt on “Sacred Core”. The latter includes a shoegaze pace and ambient vacuity with a terrifying promise from Fagernes, “I’ll get you back at whatever cost”. Mayflower Madame proves that there is beauty in terror and majesty in discomfort; the band never allows the listener to relax, for this is music to be experienced more than simply enjoyed. The songs penetrate those who hear it as brief streaks of guitar delivered by both Fagernes and Håvard Haga intermittently scorch the air, ethereal keys and evocative poetry permeate the atmosphere, and exist to be repeatedly played, analyzed, debated, and the meanings about which will likely never be fully agreed. “Goldmine” is a tale of embittered romanticism (“I gave my heart away to an endless charade…I caught you stealing from my goldmine”) played with just a hint of greater pop efficacy, while “A Future Promise” includes a nuanced hook and places Fagernes on the outside of the action. He is the omniscient narrator here, noting how “she’s sick of giving in/she’s got no patience, she just wants to win”, taking listeners through the tale of one woman’s desire to break free of a failed “romantic notion”. Depending on one’s outlook on life, this could be either the best or very worst band in the world with whom to self-quarantine right now, but personally, this will help me fight through the current pandemic. A band like Mayflower Madame only intensifies my hatred of this virus, for I want this band able to travel to the States and bring their poetic destruction to fans here in a live setting. Indefinably lush, gorgeous, and profoundly moving, Mayflower Madame reinforces all of my cynicism about romance and relationships in one glorious ten-song collection. TRUPA TRUPA -I’ll Find (trupatrupa.bandcamp.com/album/ill-find) Building upon the success and magnificence of their previous release, Of the Sun, Poland’s Trupa Trupa return with I’ll Wait, a shimmering work of psychedelically charged indie rock. The opening “Fitzcarraldo” is a living musical dichotomy, somehow simultaneously beautiful and unsettling. The song is based on a film directed by Werner Herzog about the real life escapades of Peruvian rubber kingpin Carlos Fitzcarrald. This constant convergence of the lush and the haunting, not to mention the wildly interesting historical references made by the band through these tracks, makes I’ll Wait a scintillating and intellectually challenging listen. Grzegorz Kwiatkowski emotes the refrain, “all the way to the end of the line” (from “End of the Line”) in a manner that conveys both a childlike sense of playfulness as well as a subtle mania that demands repeat listens. Initially thrust forward by the nimble bass playing of Wojchiech Juchniewicz, the song seamlessly slides into a subdued, atmospheric realm with a tone that conveys a nursery rhyme gone terrible awry. There is a sense that something terrible is about to happen, but it is impossible to predict what exactly or when. “Invisible Door” initially strikes the listener as a 1970s psyche-pop effort as heavily compressed, almost whispered vocals meander above a bed of solemn musicianship. The song’s perceived simplicity masks a depth that reflects Trupa Trupa’s musical mission; namely, to create music that is at times claustrophobic and unnerving but always engaging. The closing title track is musically suffocating, and waves of ethereal controlled noise force Kwiatkowski’s vocals to swim against the tide while he commences with an internal battle, first declaring “I’ll find” before being told by a second, but still his own, voice, “no, you won’t”. The song is replete with nightmarish elements seemingly lucid and incomprehensible. Trupa Trupa’s willingness to address the realities of global hate, particularly the rise in anti-Semitism and Holocaust denial, gives their music an additional gravitas, but the strength of any band must be songwriting, and these four are supremely gifted.



Read Rich Quinlan's interview with Trupa Trupa here... THE CARVELS NYC - "Late Night Heart" EP (Die Laughing Records www.dielaughingrecords.com) The Carvels NYC, one of America’s great treasures, return with three more blues-drenched explosions of swinging, punk-inspired rock n’ roll. With their focus on rollicking guitar, wailing saxophone, and Lynne Von Pang’s distinctly powerful voice, Carvels NYC sound like a band from a different era but are urgently needed now. The title track of the Late Night Heart EP invokes images of clean-cut kids dancing on American Bandstand with its 50s doo-wop structure and clever metaphorical lyrics, but it still hits with an undeniable ferocity due to the always steady playing of drummer Steve Pang. The same holds true for “Bitter Pill”, a dirtier sounding effort in which von Pang brazenly addresses the failure of a relationship and refuses to apologize for anything by noting, “I am a bitter pill/ that got caught in your throat”. Danny Ray provides flawless sax work throughout each effort, and he plays with an intensity that provides both swirling blasts of force but also a soulful depth as well, reminiscent of Fear’s angst-riddled “New York’s Alright if you Like Saxophones”. “Out in the Streets” is the most conventional track of the three, as the song steamrolls along with von Pang perhaps never sounding more dulcet in her vocal delivery and guitarist Brian Morgan given a greater chance to shine. A wondrous addition to the band is former King Missile bassist RB Korbet, as his backing vocals are noticeable across the trip of tracks, but perhaps more prominently on the closing “Streets”. The Carvels NYC craft another flawless collection of musical enchantments; from song configuration to attitude to production, the Late Night Heart EP is a delight. SUNTITLE - "Pure Forever" EP (Know Hope Records) This South Jersey outfit have refined their skills over the past year or so with a seemingly endless string of opening slots for big name acts (Knuckle Puck, Set It Off, X Ambassadors), and that work led to the creation of a stirring four song EP in the form of "Pure Forever." The opening “Big Jawn” is a kick to the teeth of guitar force that breathlessly meshes into a dreamy, shoe-gaze track accented by powerful drumming and impassioned vocals. “Squirrel Hill” adopts a similar sensibility with Joe McGarvey and Kyle Fisher’s heavily distorted, droning guitar majestically interwoven with powerful vocals (“Sorry that I’m not sober/Just for a minute/II guess I missed it”) and understated low-end prowess from Peter Bariexca and drummer Dan Mattera. The fleeting title track is the most unique piece of the four, as minimalist playing wafts elegantly past the listener as McGarvey asks the poignant question of “Why can’t I be pure forever?”. The band returns to a classic 90s alterna-vibe on the closing “Milligram” as Suntitle blends start/stop symmetry with intensified singing, a massive hook, and a richer grove. The song is deceptively heavy and truly stands out following the subdued quiet of “Pure Forever”. There are many interesting aspects to this band, and if the quality of this EP is any indication of what the future holds, their time as an opening band will be short-lived. LORD BUFFALO - Tohu Wa Bohu (lord-buffalo.bandcamp.com) This is truly unlike anything I have heard before and will be impossible to forget. Blending elements of dark atmospheric, nearly metallic qualities with contemporary folk, Lord Buffalo makes music that is majestic, moving, and at times, frightening. The opening “Raziel” includes an introduction that one should not listen to alone; the first three minutes are an approaching storm from which one cannot escape, and then the voice of Daniel Jesse Pruitt appears and completes the unsettling soundscape. The vast majority of the tracks are expansive, meditative tableaus of musicianship that can be equally dense and ethereal, effortlessly shape-shifting within seconds. The enchanting title track brings the listener into a realm of melodic chanting as piercing guitar slashes through the sky. Harkening the experimentalism of acts ranging from Slint to Xiu Xiu, Lord Buffalo is a demanding listen that requires one’s highest level of attention and focus. “Heart of the Snake” creates psychedelic headspace while connoting images of vast plains and dusty, barren lands. There is tangible beauty in all that Lord Buffalo produce, from the bouncy, fuzzy, folk-kissed pop of “Halle Berry”, a song accented by angular, muscular guitar riffs and a grandiose refrain of “say hallelujah”, to the spacious, hovering “Kenosis”, an apparition of a song that conveys a penetrating sorrow. The vastness of the songs allows Lord Buffalo to create several anthems within one; even the aforementioned “Kenosis”, while largely a work of gentle exquisiteness, includes searing violin that viciously lacerates the latter portion of the track. Every attempt to introduce noisy characteristics into otherwise tender anthems works perfectly-nothing sounds out of place or forced. There is a highly intricate method to Lord Buffalo’s madness, and these songs are built in the manner of how would care a sculpture; there is a solid base and the ornamentation is added in layers to create an elaborate masterpiece. The closing “Llano Estacado” rattles with a scintillating, looping cadence that grips the listener in an embrace that is disquieting. Lord Buffalo does more than play music-they construct listening experiences. RABID FLESH EATERS - R.F.E. (rabidflesheaters.bandcamp.com) When I first found speed metal, many, many years ago, it was Rigor Mortis’ blazing “Foaming at the Mouth” found on The Decline of Western Civilization II: The Metal Years soundtrack that instantly caught my attention and now, over thirty years later, it is still among my favorites. I mention this as Rabid Flesh Eaters openly pay a lovingly heavy homage to the fellow Texas legends on R.F.E., including the final recordings of legendary vocalist Bruce Corbitt. Throughout R.F.E., the band honors the proud past of Rigor Mortis with updated versions of three scalding RM classics, “Die in Pain”, the enchanting instrumental “Welcome to Your Funeral”, and the all too timely “Contagious Contamination”. While this trio of tracks are my personal favorites for both musical and nostalgic reasons, one should not undersell the intricacy and heaviness of the other five songs found on R.F.E. The expansive “The Fall” is over eight minutes of elaborate, classically delivered metal on which vocalist Ricky Wilson displays his remarkable range and guitarist Mike Taylor formulates challenging riffs without overwhelming listeners. The band’s ability to experiment with tempo and volume make the song an intriguing musical journey that could only be achieved by truly battle-tested and accomplished players. The title track is perhaps the most poignant moment on the record as Wilson exchanges vocal responsibilities with Corbitt, and the late RM/Warbeast singer delivers his lines with a fury and passion that makes his passing all the more morose. Rounded out by John Hill on bass and drummer AJ Tate, Rapid Flesh Eaters boldly and proudly wave the flag of pure speed metal that punches quickly and with blunt force, but balances this assault with dizzying song structures. Rabid Flesh Eaters is not simply mimicking the blueprint of Rigor Mortis; the music on R.F. E. is committed to commemorating both Corbitt and Mika Scaccia, the former RM/Ministry/Revolting Cocks guitarist who passed away in 2012. Scaccia once worked with Rabid Flesh Eaters, and the desire to honor two tragically fallen metal forces flows though the eight songs on R.F.E. This is ideal for those looking for traditional metal free from breakdowns or feet-flying pits.

ERIK CORE - Last Call (erikcoregunpowder.bandcamp.com) I had no idea folk music could be this much fun. Imagine Tom Paxton singing for the Circle Jerks and one can begin to place a big toe in the wild musical pool that is Last Call. Released in early 2019, this is a mandatory listen for people (or fools) like me who missed it upon its initial emergence and is a wonderful primer before Erik Core releases a new collection in 2020. Blending country forthrightness, hardcore energy, and metal ferocity, Core, supported by buddies Al Stingle and Josh Mendoza, blasts his way through eleven songs about living hard, nearly going too far, and somehow being smart enough to see the lessons in past mistakes. The relentless vivacity of “Wild Fire” is matched by the scathing “Rock Stars”, whose refrain of “Don’t believe your rock stars/making all their profits/selling you their dreams” just drips with years of frustration. When the trio slows the pace down, as they do on the dusty “Last Call”, there is a melancholy realism that can only be truly expressed by those who have lived what they write (“Hoping for a better tomorrow/Wishing for a better today/Knowing that even as these words are spoke/Another set of eyes closes for good”). “Freedom of Spirit” retains a hardened Southwestern vibe, while the uproarious “WTF” is simmering mix of combustible angst and sardonic wit about the rampant spread of “heroin in the Midwest”. The band’s greatest skill is that while they have all clearly cut their teeth playing aggressive music (Core founded Gunpowder), the songs on last call are varied in length and intensity level, with “After the Fog” moving deliberately as Core speaks of “tassel dancing peepshows”, “Sandinista, rum drinking partner”, and a “full time demon fighter”. This is an intriguing listen, but the overwhelming high point for me was the expansive, beat poetry nature of “High Noon”. An explosion of authenticity about the suffering faced by so many of the ignored in America, the song takes the listener into jail, the agony of waking up strung out, “covered in piss, puke, and shit”, dying to be saved but not seeking salvation. The track is a masterpiece of fearless writing performed with painstaking strength. I cannot wait for the next record from these guys. JONNY POLONSKY - Kingdom of Sleep (https://jonnypolonsky.bandcamp.com) Jonny Polonsky has had an amazing life; as a teen, Black Francis plucked him from an ocean of musicians fighting to be noticed, and he went on to perform with Maynard James Keegan in Puscifer. Throughout the years in between and around these events, Polonsky has played with everyone from Neil Diamond to Tom Morello. On Kingdom of Sleep, the Brooklyn native makes richly atmospheric, and at times, even futuristic sounding music on a record that plays out like one metaphysical experience. “Ghost Like Souls” is a majestic work of with truly other worldly sounding vocals delivered with fragility over a lush, keyboard-driven soundscape. “The Weeping Souls” rattles with a poignancy matched by a visceral sensuality woven within its indie pop/folk structure. (“Oh what can you say after you cry yourself to sleep/And there are no tears left to weep”) It is difficult to avoid using the term “dreamy” to describe the work of Polonsky, but the term is fitting on “No Tears” and the delicate eroticism of “You Turn Me On” (“Let me taste you again/I won’t waste a drop of you”) as breathy vocals hover like a low cloud ceiling above emotionally charged and haunting musicianship. “Aenerone” returns to the meditative dance grove first introduced on “Ghost Like Souls” and is equally beautiful as the opening track. Ethereal keys waft effortlessly into the closing “Willing Eye”, a jangling nugget of heartfelt emotion. The entire record is achingly beautiful and a testament to this man’s boundless experimentalism.

THE GLOOMIES - Are We Getting Better? (thegloomies.bandcamp.com/) The Gloomies often live up to their name aesthetically, although they may take their moniker from an obscure collection of blue aliens from the Care Bears carton. Regardless, Andy Craig leads The Gloomies through a collection of songs that are warm and lush haunted by fragile vulnerability. On “DNTGTBTTR”, the vocalists admits, “I miss the way we felt when we were young, magic everywhere, screaming in your ear”, acknowledging a sense of loss and a woeful plea for redemption. Even the fleeting DIY “Voice Memo”, of which there are three, take the listener into the band’s creative process and the burgeoning beauty of the ideas that dominate this stunning record. “Sick Like You” hoovers elegantly with intricate guitar playing, and the gorgeous “Mess We Made” is a serene ballad with ghost-like backing vocals of delicate beauty. The fittingly titled “Calm Now” is an ideal closer, as the song is played with refined musicianship that is mesmerizing in its lavish splendor with Craig’s voice sounding as if he lost at sea. The Gloomies are an intriguing band and the work on Are We Getting Better is an impressive illustration of this band’s vision.

ACID TONGUE - Bullies (Freakout Records www.freakoutrec.com) Seattle’s Acid Tongue is a fascinating combination of classic indie rock stylings and an unrelenting DIY spirit. This conjures images of the heyday of the 90s indie rock explosion, particularly the title track as Guy Keltner announces how “rich kids are bullies” in a falsetto whose innocent sound belies the pain the song exposes. This dichotomy of complex, emotional sorrow and ethereal, musical deftness is expressed on “Jenny Lewis” with the scathing line, “our love is just another inside joke”, and the mid-tempo crawl of “Liars” as Keltner admits, “they don’t tell you it ends like this”. Acid Tongue delivers music that is both somehow highly sophisticated and instantly relatable, like reconnecting with old friends who have changed but still retain much of their old charm. The crawling pace and self-deprecating honesty of “Sometimes” is a heartfelt confession that will be undoubtedly relatable (“Love is a strange world/Love isn’t kind/making me crazier, time after time”). When Keltner declares “bad medication is not the only thing you hide” as he opens the bouncy, nervous “Walk Don’t Run”, he introduces a twitching, infectious effort that perfectly captures the unease of the world in which we live. The driving bass line reverberates with a slickness of 1970s studio chic but somehow still captures the ethos of a garage band playing together for the first time. Keltner, who is accompanied by a wondrous band of skilled players, including primary partner Ian Cunningham, have compiled a collection of heartfelt, occasionally desperate tales, but rather than feel sad about how dark times may be, Acid Tongue tells us on “Forty Years” that, despite it all, “we might as well enjoy the ride”. Not bad advice.

JAH WOBBLE - A Very British Coup (80 Proof Records https://www.averybritishcoup.com) One may see this as a Public Image Limited reunion of sorts, and the timing is perfect. Jah Wobble, John Wardle on his birth certificate, was PIL’s bass player who famously exited the band in 1980 under scurrilous conditions before releasing his own solo record Betrayal. Forty years later, the need for unique takes on failing British culture and stale pop music coincide on “A Very British Coup”, as Wardle is joined by former mates Richard Dudanski on drums and guitarist Keith Levene. The song is a delightful mixture of atmospheric pop, throbbing bass, understated but impactful drumming, and Levene’s soaring guitar playing. The riff carries the track, seamlessly blending metallic touches with soaring beauty as Mark Stewart (Pop Group) takes the helm vocally and provides a string of sarcastic observations about a nation on the verge of departing the European Union and embarking upon an unknown future with far more economic and social questions than answers. Phrases such as “sordid sentimental, sick souvenirs” and “hypnotism by the radio” are woven within elements of dub step, post-punk, and jazzy disco. Accompanied by tape loops and even Chinese harps, the song is a universe of varied sounds and styles meshing together into a gloriously beautiful condemnation of contemporary England. Only the Brits could be so sardonic and lovely at the same time. Regardless of your interest, or lack thereof, in English politics, this should be required listening, as it brings together legends with decades in their pasts who create something that sounds entirely new. SHARP VIOLET - “She’s So Strange” (sharpviolet.bandcamp.com/track/shes-so-strange) Long Island’s most exciting band returns with a new single that demonstrates increasing refinement of their sound and growth within their collective songwriting talents. “She’s So Strange” begins with a controlled, fuzzy mid-tempo riff while vocalist Liz Meehan celebrates strength through individuality (“Her temper runs hot but her shoulder is cold/A child at heart with a soul so old”), but the song changes dramatically once it reaches its furious curious. Driven by the low-end force of Jasmine Fuentes’ furious pounding and a rumbling bassline from Marie Tornetto, along with the dual guitar crunch of Jessica Benenati and Allison Sondergard, “She’s So Strange” becomes an explosive blast of angular punk accentuating some of Meehan’s most poetic writing (“She's So Strange/In proportion to obscurity/Draining my money and my sanity/ She likes the color but hates the taste/ She can't make up her mind so she makes up her face”). One of punk’s founding principles was to celebrate those who are traditionally on the outside of what is considered “acceptable” or “normal”, but in a world of mass conformity in which one’s self-worth is driven by likes on social media posts, it is refreshing to hear a song once again celebrating the idea that people should be who they are and have pride in doing so. When Meehan states, “She’s the queen of the scene/even if it’s in her own head”, she captures a sentiment many feel and does so with her band mates sounding at their best thus far. Overflowing with energy and clearly exhibiting continued musical prowess, Sharp Violet hits fiercely here, providing more proof as to how they are one of the best and most intelligent punk bands playing right now. THICK - 5 Years Behind (Epitaph Records www.epitaph.com) Thick is a Brooklyn trio of socially astute punks and 5 Years Behind is a collection of acerbic examinations of how frustrating modern life has become. Thick has released a series of highly impressive singles and EPs, so it with great anticipation that one finally gets their full-length debut, and there is not a wasted second here. On “Bumming Me Out”, vocalist Nikki Sisti says, “anxiety get