Category Archives for Punk

Andrew Jackson Jihad – “Live at the Crescent Ballroom”

(Photo credit: bandcamp.com)

Grade: A-

Key Tracks: “Gift of the Magi 2: Return of Magi,” “People II 2: Still Peoplin'”

I normally wouldn’t take the time to review a live album – they’re not designed to grab any new fans. But I happened to see Andrew Jackson Jihad on this tour. Not this show, as it was recorded on their last night, in Phoenix. But I saw them at Europa in Brooklyn, days after Hurricane Sandy. The show was originally scheduled for Manhattan, but the southern portion of the borough was still without power. It was kind of an emotional time, and one that the band mentions numerous times on the album as the tour’s “dark days.” We were late to the show because public transport was a mess. We missed the opening bits of the appropriately-timed “Hurricane Waves,” from opening act Jeff Rosenstock (singer for my second favorite band, Bomb the Music Industry!). Future of the Left came on second, and for a third time proved themselves one the best live bands in all of music (I had previously seen them earlier that summer, and once opening for Against Me! way back in 2007). Jeff’s do-whatever DIY, FOTL’s political noise-punk and AJJ’s folk-punk never seemed like a logical line-up, but it was three great bands.

It only makes sense that the band would record their live album on the last stop. The band is a little worn-out and had experienced some unexpected dark days on the tour. And at one point, during “American Tune,” both the guitar and vocals cut out. After “Bad Things,” rude fans start requesting songs they know. It makes sense. Andrew Jackson Jihad has never shied away from ugliness in their music – “Back Pack” is about finding your loved one murdered, carrying her into town and wondering what her life could’ve been. It’s an imperfect show for a band that isn’t remotely looking for approval or purity.

This 2012 tour was a full band tour, not something they always do. They actually focus more on the electric songs, opening with the double-dose of “We Didn’t Come Here to Rock” and “Distance.” They do a great job placing fan favorites like “Big Bird,” “Rejoice” and “Hate, Rain On Me” among relative unknown songs, like “Kokopelli Face Tattoo,” “#armageddon” and “Inner City Basehead History Teacher.”

They spend a lot of time in between songs chatting, which can be a little cumbersome for a listener. But they have to, they were doing constant guitar switches. At the end of “People II 2: Still Peoplin’,” the band has to play an extended note so the singer can switch from acoustic to electric for the final ten seconds.

The album is surprisingly long, but they pack it with enough familiar songs to make it a very satisfying listen. With typical folk-punk, it’s fast, it’s messy and it’s got deeply unsettling lyrics. This live album won’t gain any new fans, but it is a great pick-up for current ones. Andrew Jackson Jihad is one of my favorite bands, and to have a record of the tour when I saw them is kinda special.

-By Andrew McNally

Potty Mouth – “Hell Bent”

(Photo Credit: Spin)

Grade: B

Key tracks: “Rusted Shut,” “The Spins”

Freshly born at a woman’s college just a short drive from me, western Massachusetts’ Potty Mouth’s full-length debut falls under the increasingly growing umbrella term of “pop-punk.” A decade ago, pop-punk was a very specific genre of music, but nowadays, it’s just anything that fits the qualifications. And technically, Potty Mouth do. Their songs are pop songs, tainted by punk rhythm and intensity. But they aren’t a big-chorus, small town hating band. Their songs have an added reverb tinge to them, uncharacteristic of pop-punk. And the band seems to have a personal attitude, not to be bothered by genre lines.

Potty Mouth have such a fuzzy and distorted sound that they almost start to resemble simple shoegaze bands like Yuck, but they still have definitive song structures. This toying with the basics of genres only helps to show the band’s open attitude and general distrust of being labeled under anything. This non-abiding of genres makes the catchiness of the album seem perversely warped, almost ironic. But it isn’t – the songs are catchy, at times fully embracing the pop element of pop-punk. Equal parts fuzzy and catchy, Potty Mouth properly blend the best of two genres to make that rich, 90’s-revivalist sound.

This isn’t a political album, but the band does take an approach towards equality in their music. And rightfully so, because they are often labeled as a “female band” and not as a “band”. This approach is, I guess, the “punk” element of the “pop-punk,” although that’s still defined more by the energy of the music. Because things aren’t equal, especially in the music world, they’re often labeled as a feminist band. But musings of equality creep into the album, pushing the album above most lyrically-boring pop-punk bands.

But what the album really is, is a decent set of fuzzy, catchy, punk tunes that have trouble separating themselves from each other but are instantly catchy and memorable. Potty Mouth has the energy of a punk band, the catchy rhythms of a pop group, and the reverb of a conventional-leaning noise-rock band. The album isn’t perfect, but it’s a winning combination.

If you like this, try: Yuck’s 2011 self-titled album. It isn’t that great of an album, but the distortion on “Hell Bent” reminded me greatly of it.

-By Andrew McNally

Melt-Banana – “fetch”

(Photo Credit: exclaim.ca)

Grade: A

Key Tracks: “The Hive,” “Schemes of the Tails”

There’s a certain number of people out there that have thought, “I wish Melt-Banana would just be more intense!” That number hovers around zero. But they’ve gotten more intense. The Japanese noise-punk group has been established, since the mid-90’s, as one of the leaders in the world of total aural assault. Their earlier albums were nonsensical blasts of noise, each track often lasting less than a minute. In the 2000’s, they gravitated towards more conventional song structures while still maintaining that furious intensity. 2003’s “Cell-Scape” was a goldmine of pop-brutality. After six years of inactivity, they’re back, and “fetch” makes those six years excusable.

It should be mentioned that they took time off because of problems faced in their native Japan – an earthquake in Tohoku and the nuclear meltdown at Fukushima left the band putting their careers to the side to help their country. But the return is still welcomed – because they’re back to their experimenting. Sometimes the band experiments, other times they just put out noise albums. But “fetch” sounds like the album that should’ve come out before “Cell-Scape.” To put it simply, this is the Melt-Banana album I’ve been craving since I got into them roughly six years ago.

“fetch” starts off with ocean waves and a synth rhythm, a bit of a red herring intro that also acts as a metaphorical apology for the band’s unintended hiatus. The song builds up, finally ending in intense Melt-Banana form. For those unfamiliar with the band, that involves guitar and drum paired with squeaky high vocals and drums that sound like they’re being murdered. Follow up “The Hive” is more of a traditional track, at slightly over two minutes.

A slight majority of the songs on the album are under the 2:30 mark, and all except an interlude are expectedly intense. But what makes this album great – maybe even their best – is the way it uses typical song structures to sound even more brutal. “Cell-Scape” loosely framed its songs around rock structures, but didn’t advance much beyond them. “fetch” takes a typical structure, allows the band to slow down just a little to add a noticeable energy, and intersperse typical songs against blasts of noise. The final track, “Zero,” almost comes close to resembling the Yeah Yeah Yeahs song of the same name, as a synth-based dance-number. But yet, the tracks before them are still brutally fast. Melt-Banana stretches their own boundaries on this album.

The vocals aren’t as high-pitched, and the drums are on a less consistently melodic, Zach Hill type of brutality, which automatically sounds different. “fetch” honestly would’ve been a wonderful intro to “Cell-Scape,” now 10+ years removed. But with the mediocre “Bambi’s Dilemma” standing as their most recent release, “fetch” is more than a welcome return – it’s a noisy, assaulting and relentless piece of noise-punk that recognizes its boundaries, always going to them but never going over. Melt-Banana is not a band that has a wide audience in America, but for those that do enjoy, they’ll hopefully accept “fetch” as an apology for a long absence.

If you like this, try: Lightning Bolt’s 2005 album “Hypermagic Mountain.” Two guys from Connecticut created one of the most feedback-laden, noisy masterpieces of the ’00s.

-By Andrew McNally

Poor Lily – “Vuxola”

(Photo Credit: Poor Lily)

Grade: A-

Key tracks: “Birdbomb,” “Railroad Spike”

Charging in at 19 tracks and 30 minutes, Bronx based punk trio Poor Lily’s sophomore release blends 80’s political hardcore punk with 90’s street punk, taking the best of both genres. Opener “Birdbomb” starts immediately with Max Capshaw’s charging guitars and Dom Baiocco’s drums that set the album’s tone of never-ending urgency. The song’s lyrics reference Slaughterhouse Five, a nice touch for the educated listeners. From there, the lyrics often switch from bleakly metaphorical to bluntly political. Tracks like “Crank Radio” and “Microwave” tell stories through their lyrics, while songs like “Send in the Drones” and “Justice Kennedy Has a Cold” tackle politics head-on. In this sense, the album resembles the Dead Kennedys, who handily switched from funny to topical to disturbing on a moment’s notice. Singer Adam Wisnieski’s voice even heavily resembles Jello Biafra’s, a natural resemblance, not faked. His voice is uneven at times, but given the album’s frantic nature, it’s easy to assimilate.

Where the band resembles the Dead Kennedys vocally and lyrically, they’re more musically aligned with street punk bands. The occasional bass breakdown (also provided by Wisnieski) would not sound out of place on a Ducky Boys or an early Dropkick Murphys record. There are hints of hardcore and post-rock included, though, so the album isn’t as formulaic as most street punk bands. Varying song lengths and lyrical switches keep the album interesting. No song sticks around too long, and no idea is too drawn-out. All in all, it is an inventive punk record that does not sacrifice any intensity for ambition.

“Vuxola” is streaming on Soundcloud for free, and drop by their website for more information and shows.

If you like this, try: There’s so many directions to go here. Future of the Left’s “the plot against common sense” (2012) is a much more metrical blending of politics and metaphors (and one of my favorite albums). The Dead Kennedys’ “Fresh Fruit For Rotting Vegetables” (1980) is a classic. Also, a forgotten band from the mid-00’s called Cheap Sex put some decent records that resemble what Poor Lily is doing.

-By Andrew McNally

Hunx & His Punx – “Street Punk”

(Photo Credit: Soundcloud)

Grade: B

Key Tracks: “Born Blonde,” “Street Punk”

Brilliantly named Hunx & His Punx have jumped to a bit of a different ship. With the most straightforward album title of the year, the San Francisco band tighten up their sound and pick up the pace. The album is titled “Street Punk” because it is, well, an effort to be a street punk band. This change is no more apparent than in the band’s album covers. The older, ridiculously fabulous Hunx & His Punx had an album cover of a close-up of a male crotch in a speedo. This album, a (faux) tattooed chest. Track eight is called “Don’t Call Me Fabulous.” The reason for the band’s switch in sub-genres is unknown, but what we’re left with is a decent transition record, over as soon as it starts.

The second track on “Street Punk” is called “Everyone’s a Pussy (F**k You Dude)” and consists of only those six words, screamed over a blistering thirty-one seconds. The album is twelve tracks, and barely twenty minutes. This is probably for the better, because Hunx & His Punx haven’t exactly mastered street punk yet. The album is full of quick punk blasts, but ones that land in between street punk and their older, girl-group influences. The result is a strange blending of ideas, one that has moments better than others, but often succeeds in doing its job. It isn’t as loud, or as consistently quick as other street punk albums. It does have the ferocity. There is anger and disgust, some coming natural and some forced. But even when it’s forced, it usually works, because the band believes it’ll work. Shannon from fellow San Fran punks Shannon and the Clams shares vocals on this record, resulting in a nice back-and-forth between singers.

Hunx is, in a way, his usual self here. He sounds the same vocally. Some of the lyrical themes are the same. Yet the band has sped everything up, and added reverb and feedback. It’s a different Hunx & His Punx, and it makes the listener wonder where the band will land next. And with the crotch and the chest taken as album covers, what’s next? What genre does the arms align with?

If you like this, try: “Living Dummy” by Pangea (2011). They’re an equally genre-less California-based punk band, and “Living Dummy” is one of my very favorite records.

-By Andrew McNally

Gogol Bordello – “Pura Vida Conspiracy”

(Photo Credit: Rolling Stone)

Grade: A-

Key Tracks: “Dig Deep Enough,” “Malandrino”

Let me start by admitting something: Gogol Bordello has been one of my favorite bands since “Super Taranta!” came out in 2007. Eugene Hutz and his gang could release an album of nails on a chalkboard and I’d find something great to say about it. Okay. That’s out. Let’s start –

Do gypsies ever slow down? Do they settle, even for a period of time that’s barely remarkable? This is the main existential crisis at the heart of “Pura Vida Conspiracy,” the sixth album from the world’s only famous gypsy-punk band. They have been on tour since they formed in the late ’90’s, recording and performing all around the world, and taking their inspirations from as many places. Singer/guitarist Eugene Hutz is Ukrainian, and the rest of the band hails from all over Europe, bringing folk, flamenco and salsa into standard punk music. Where did they form? Manhattan. 2010’s “Trans-Continental Hustle” was recorded after Hutz lived in Brazil. “Pura Vida Conspiracy” was recorded in El Paso, Texas. Hutz sings about people in all cultures and in all walks of life, always convincing the listener he has experienced each one firsthand.

But this is the band’s first introspective record. Think back to previous albums. 2005’s “Immigrant Punk” dealt with world travelers. 2007’s “American Wedding” was an open letter on how boring American cultures can be compared to European ones. 2010’s whole album “Trans-Continental Hustle” tackled the inherent contradictions in the idea of immigration. But here, Hutz sings about himself. On a track called “The Other Side of the Rainbow,” he proclaims that the other side of a rainbow is black and white. Gogol Bordello are world travelers and surprisingly famous, given their totally radio unfriendly acoustic-electric-flamenco-salsa-dance-political-hyperspeed-punk. What Hutz has found, however, is an unexpected hollowness in being well-known. Maybe it is because his previous political motives haven’t made waves, or maybe it’s because Hutz is disgusted by fame. But this album features more slower tracks than previous efforts. Slow Gogol Bordello sounds bad on paper, but the collective can still pull it off.

There is still ferocious drumming and acoustic guitar. Hutz’s voice is still ridiculously Eastern European. The album blasts out of the gate with three speedy and diversely inspired songs. Track two, “Dig Deep Enough,” is my personal favorite, and features a reliance on flamenco inspiration, pretty new to the band. The introspection starts soon after, leading to the first Gogol Bordello album that actually makes the listener think instead of blinding agreeing with political ambitions. Lyrically, it might just be the strongest album yet. Musically, it isn’t. Something about their formula of ten stringed instruments playing over brutal drums never gets old, and the album could use a little more oomph. It doesn’t fit with the lyrics, yes, but the album does get just a little too down at points. Still, Hutz’s existential lyrics are frighteningly easily to relate to, and poetic, and carry any bogged down moments. “Pura Vida Conspiracy” isn’t so much disappointing as it is different. We probably should’ve seen this album coming, we all knew Hutz wouldn’t be comfortable with fame. Politics were swapped out for personal. It’s new, even for them, but as long as Hutz and his (currently) seven-piece backing band can keep delivering a whole beautiful mess of ideas, we should be on board.

If you like this, try: Okay I thought about this for a while and there aren’t any bands I can think of that sound remotely like Gogol Bordello, so how about Dropkick Murphys’ “The Meanest of Times” (2007). A punk band that began to get introspective, and there’s accordion. As close a connection as I can make.

-By Andrew McNally

Defeater – “Letters Home”

(Photo Credit: rocktransmission.com)

Grade: B+

Key Tracks: “Bastards,” “Bled Out”

I was largely unfamiliar with Defeater before giving this album a listen. Despite growing up seeing Boston punk and hardcore bands, I never crossed paths with Defeater’s music. Defeater do their best to separate themselves from other hardcore bands. Hardcore is traditionally an incredibly formulaic genre; bands that experiment even a little are sometimes ostracized. But Defeater do not so much play with the formula as they do add serious depth to it. While most hardcore bands focus primarily on the heaviness, eschewing poetry for indiscernible, throwaway lyrics about fighting and drinking (or not drinking, depending on the scene), Defeater take the time to add detail to every element. There is screaming – exclusively – but it is melodic. The emotion in the lyrics, which are often understood, adds a pretty consistently haunting element. And the musicians behind the singer, sure the songs are fast and loud but it isn’t “123GO” at the beginning of every track. Opener “Bastards” blows out of the gate, but the album speeds and slows accordingly, in an attempt to make an actual album instead of a collection of hardcore songs.

As mentioned, hardcore bands are not known for their deep and piercing lyrics (here’s looking at you, Hatebreed). But Defeater took the Coheed & Cambria approach to music: telling a long, multi-album story. While C&C are a goofy group that concocted a fantasy-inspired love story, Defeater took a much deeper turn and have been crafting a story about a family getting torn apart by the horrors of WWII. This is, frankly, brilliant. WWII is a topic that appeals to many people, and it allows them to get darker and darker with their lyrics on each album. Indeed, some of the titles include “Rabbit Foot” and four No’s: “No Shame,” “No Relief,” “No Faith,” and “No Savior.” The album may be heavy, but it is the heaviness of the lyrics that weighs more on the listener than the heaviness of the screaming and pounding guitars.

That said, even for an album that leaves as quickly as it arrives, it does drag on a little. A majority of the ideas that separate tracks from each other are used on the first half. The second half starts to fall into traditional hardcore. It is saved (ironically) by “No Savior,” which starts off with an extended slow period, and the album’s 6+ minute finale, “Bled Out,” which repeats the chorus of “Bastards” to bring the album around to a whole. But moments on the album do tend to blend into one another a little too much. High intensity is great, but when it is unfaltering, it just becomes normal. Still, “Letters Home” is lyrically deafening, and is the best example of a band expanding to the limits of hardcore without going beyond it. There is a new high standard in hardcore.

If you like this try: “Sunbather,” the new release from Deafheaven. It’s shoegaze-black metal, a totally new genre that is getting them thrown out of the metal community. It’s also one of the best albums of the year.

-By Andrew McNally

Roomrunner – “Ideal Cities”

(Photo Credit: Stereogum)

Grade: A-

Key Tracks: “Bait Car,” “Wojtek”

The dream of the 90’s is alive in Baltimore. Roomrunner gleefully throw ode to some of the early 90’s grunge and noise rock bands. Nirvana is idolized through fast rhythms that let a punk influence bleed heavily through. Pavement is redrawn through heavy distortion that adds to the melodies and through the rough transitions between songs. Roomrunner never tries to be conventional. The opening track, “Bait Car” is an assault on time signatures that are sometimes impossible to decipher. “Wotjek” sounds like more of a poppy side to the band, until the chorus, featuring rhythms of pure feedback that are different on each passby. The finale, “Snac Error,” ends with a waving drone of guitar that takes up a good chunk of the track.

“Ideal Cities” is over in about a half hour, and it is one of the rare times where the short length of a punk album does not feel entirely fulfilling. The album wasn’t one idea stretched into a certain number of tracks, but a bunch of little experimentations that left me wanting more. This is hardly a criticism, as the band made an interesting record that sounds fresh but resembles the pre-grunge bands of yesteryear. It is melodic and noisy, all while maintaining a sense of fun. Pavement and the Pixies would be proud.

If you like this, try: “Living Dummy” by Pangea (2o12). More of a conventional (surf-)punk record, but there is a similarity between bands, I cannot emphasize enough my love for “Living Dummy”

-By Andrew McNally

Larry And His Flask – “By the Lamplight”

(Photo Credit: Brooklyn Vegan)

Grade: B

Key Tracks: “Pandemonium,” “The Battle For Clear Sight”

“By the Lamplight,” the second official release for the band Larry and His Flask, begins a capella. It only stays that way for a few beats, but it is enough for the band to set the stages. Larry And His Flask are, at the end of the day, a punk band. Yet the banjos and intense acoustic guitar are equally reminiscent of both folk and folk-punk bands, far away from the slight Irish tone to their music. They are a diverse band, taking their inspirations more from cultures than genres, like a Gogol Bordello without an eccentric lead singer.  Their second official release follows this trend, although it is a little more standard than their previous full-length. Still, the a capella opening acts as a bizarre intro for an unfamiliar listener and a gleefully expected one for fans.

When Larry and His Flask are at their best, which is often, they invoke one-thirds Mumford & Sons speed-folk and two-thirds Nekromantix rockabilly punk. The opening half of the album sees them accomplishing this frequently. Early track “The Battle For Clear Sight” has a nice addition of a female singer, Jenny Owen Youngs. The second half of the album gets a little bogged down in songs that sound a little too unoriginal, because of an already high standard that has been previously set. Still, the album’s fastest and slowest tracks, “Home of the Slave” and “All That We’ve Seen,” help to break it up some. And the band always sounds like they are having fun in the studio, which transposes to the listener. They are a fun band, one that genuinely enjoys what they are recording.

“By the Lamplight” is a little less experimental than their previous effort, but it still ranks the band among the most experimental bands in punk music. Their sound is equal parts Celtic punk, rockabilly and folk, and their diversity makes for a truly interesting band. I learned about this band after seeing them in Brooklyn open for the Menzingers (a perfect band), at a show that Gogol Bordello was coincidentally supposed to play at (it got cancelled part way through because of weather). If Larry and His Flask come your way, I recommend them live. Their diversity translates to a fun live show.

If you like this, try: Frank Turner’s “England Keep My Bones,” another diverse Irish-folk-punk musician whose best album is the second most recent.

By Andrew McNally

The Ducky Boys – “Dead End Streets”

Photo Credit: Ducky Boys bandcamp page

Photo Credit: Ducky Boys bandcamp page

Grade: B

Key Tracks: “Up, Down & Wrong,” “I Was Intoxicated”

Boston street-punk legends the Ducky Boys returned from a second hiatus and even more line-up changes in 2011, and their second album since is a solid effort. It isn’t a goldmine, but it holds up remarkably well amongst the albums of their other aging contemporaries. The Ducky Boys have stuck to the same successful status quo, and it produces another good album. Lyrically, the album is kind of all over the place, in a good way. There is some emotional damage coming through in some lyrics, as the Ducky Boys have always defied some punk stereotypes and been ones to open up and explore themselves. There is, of course, typical street-punk songs too. Songs like the title track and the opener “You Don’t Wanna Know Me” exemplify the 90’s Boston street-punk scene that brought them thus far.

Musically, most tracks follow the simple punk formula, which is completely expected. In fact, it is welcoming to embrace, as most punk bands that survive the same length of time that the Ducky Boys have often open to slower and catchier music without any reason. The Ducky Boys have reason when they do, as they occasionally embrace acoustic, bluesy or reggae-inspired rhythms throughout the album, which provide some nice breaks in between stacks of punk songs. When the Boys switch up their influences, they work, because they have their reasoning to back it.

“Dead End Streets,” like many other punk albums, does begin to become tedious by the end, as the band’s better ideas are exhausted earlier in the album. Punk albums tend to have a way of making 34 minutes feel longer. “Dead End Streets” is still a strong record though. It is not completely original, and it does not stand up against classic punk. It does not try to be anything more than what it is, though, and it excels as an enjoyable and listenable street-punk record from some legends.

If you like this, try: “State of Grace” by Street Dogs, 2008.

-By Andrew McNally