Category Archives: Blog

Tim Hinely: FOR THE LOVE OF ZINES! Pt. 7

This is what the world looked like before WordPress, punks. And it was a more vibrant, exuberantly tactile world, too. Our resident fanzine expert Tim “Dagger” Hinely weighs in.

BY TIM “DAGGER” HINELY

Print is still alive and well and here’s some rags to prove it! (See Part 6 of this series elsewhere on the Blurt site.) Fall is here, which means that the baseball season is slowly coming to its conclusion, so with that in mind….

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7 & 7 is… (#3) This cool zine is the size of a 45 record (and even includes a flexi) is done by the folks who run the terrific label Hidden Volume label out of Baltimore (think sort of an updated version of Estrus Records, at least in the graphics dept). Plus it’s named after a Love song so of course it’s good, man! This ish has interviews with The Improbables (done by some wanker named Hinely) and Louie Louie plus some most excellent graphics and reviews. Do me a favor, inundate Scott with orders so he continues with this one. www.hiddenvolume.com

The Big Takeover (#80) As I stated last time, if editor Jack Rabid hits issue one hundred I wanna be there for that party. Every June and December one of these drops into my mail box (thanks Jack!) . This time around it’s Chrissie Hynde of The Pretender (on da’ cover) plus other heavyweights like Tommy Stinson, part two of the Lush interview, Tobin Sprout, The Black Watch, Sleaford Mods, Grandaddy and more and lots of more including short takes and a boatload (or truckload if you prefer) of reviews. Also, as I stated last time, you need to subscribe. www.bigtakeover.com

Bored Out (#1) Ok, not really a zine, more like a book (it’s bound) but zine-ish enough as editor Ryan Leach has put together one hell of a lineup here including totally in-depth interviews with Kid Congo Powers, In the Red Record’s Larry Hardy, The Bats’ Robert Scott, Jeffrey Evans formerly of the Gibson Bros, Ross Johnson, The Blasters’ Dave Alvin, The Real Kids’ John Felice and plenty more. I’m about halfway through and totally fascinated. This one’s a keeper, order now. www.spacecaserecords.com

Dynamite Hemorrhage (#4) So for this issue, his 4th since coming back from the dead (so to speak…editor Jay Hinman used to do the great Superdope in the 90’s) Mr. Hinman decided to go all half-sized on us (just like the early issues of Superdope) but it still looks way sharp. In this ish he has an interview with The Kiwi Animal as well as a terrific piece on Happy Squid Records, plus he updates his old piece of 45 45’s that moved heaven and earth to expand it to 100 45’s. In addition, plenty of reviews all wrapped up in a nice little package that only Hinman can put together. www.dynamitehemorrhage.com
Vulcher (#3) Yes! The Vulcher crew are on a real roll here and yes, they’re already working on issue #4. The crew is Eddie Flowers, Kelsey Simpson and “Sonic” Sam Murphy and a long list of contributors (including yours truly) and they really delve deep and deliver here. It has the feel of an old school mag and this time around are bits ‘n pieces on Eric Dolphy, Obnox, early 45s by Jim Dickinson, Uncle Meat, The Embryonics, Big Boy Pete, a piece on the late, great David Peel, my piece on two great Aussie garage rock comps and really too much more. Well worth every penny. Write Eddie at slippytown@gmail.com or Kelsey at artichokenotes@gmail.com

Fred Mills: Facebook is the Empathy Box Philip K. Dick Warned Us About (a/k/a What I Did On My Vacation from Social Media)

The author is the editor of BLURT and has been rumored to be among those who won’t back down.

BY FRED MILLS

A little over a week ago I started to think I needed to get off social media. It was purely an act of self-preservation, and it wasn’t an altogether alien urge to ditch my “socials,” as people (primarily marketing folks and public relations flacks, but work with me here) like to say, Facebook chief among them. Like most of you, I’ve dropped out from time to time for a day or two in the past, in some instances purely by chance due to the work load at my full-time day job. (By way of full disclosure: I am the editor of a monthly print magazine here in North Carolina—not referring to BLURT, incidentally, which at the moment is online-only, but we hope to revive the print version soon. Editing BLURT content and posting it to the site is something I do to help keep our brand active and, by my way of thinking, also to give our writers and photographers an easy—if not overly reliable, on a day-to-day basis—outlet for their stuff, a place where they can park their words and their pictures and hopefully have a better chance of being seen by peers, musicians, and random music biz folks rather than simply slapping it up on their personal blog. No one here gets paid, in other words. We do it ‘cos we love spreading the word and giving love to the artists we love. And, er, to keep us in those free records we love, too.)

This hiatus from social media was different, though. It came on the heels of a particularly grueling several days, starting the morning after the Las Vegas shooting, through the heartbreaking news of Tom Petty’s sudden passing, and well into the ensuing emotional onslaught wrought by both events, of which Facebook became a nonstop outlet for those emotions.

Indeed, Las Vegas hit me with the same kind of confusion, fear, disbelief, and, ultimately, black grief that I felt in the immediate aftermath of 9/11. Yes, I know the body count difference puts the two events into completely different leagues, but, hey, try using mathematics-based logic on one’s body stressors and you’ll quickly understand that equivalencies aren’t necessarily absolutes. And, much like 9/11, you couldn’t get away from the nonstop news reports and online outpouring of grief. Sixteen years ago, four days after 9/11, my wife, 8-month-old son, and I desperately needed to depressurize, so we drove four hours west to the North Carolina mountains, rented a cabin out in the sticks, and spent a long weekend hiking in the woods, cooking on a grill, entertaining an innocent young child who was otherwise oblivious to anything but his toys and snacks, and listening to Americana radio. We came back home in a far more receptive frame of mind, knowing full well that we would re-entering a world that had changed and would never look quite the same again.

With Petty, well… I’ve already penned a rather lengthy story about what my relationship with him has been and what he means to me. Spoiler alert: He’s among my Top 5 all-time favorite artists, and he’s been an emotional presence in both my life and my wife’s since he debuted in 1976. Losing him hit me as hard as losing Joe Strummer before him, and before Strummer, Keith Moon. We can go into all this in more detail over beers some warm summer evening, okay?

The 2017 week, however, was also different from the 2001 week, in that I couldn’t take off for the mountains—well, technically, I live in the mountains, so let’s just say that I couldn’t take off for the beach, or the desert, or the New Orleans whorehouses, either—because I have that full-time job I mentioned above; my wife has a full-time job herself (combined, we put in 100-110 hours per week, easily); and my little son is a little older now, a junior in high school with advanced placement class commitments.

What I could do, however, was remove myself from as many of my primary stress sources as possible: Facebook, Twitter, Instagram, LinkedIn (just kidding – I haven’t updated my profile on that failing platform in several years! SAD!)… pfffft. CNN, MSNBC, Fox News…. zappppp. (Well, kinda; on the family iPad we have quite a few news apps, among them CNN, AP, local and regional newspapers, and aggregators like Flipboard, and it’s remarkably easy to let one’s finger to drift across the screen while deciding between Netflix, Hulu, or Vudu, and open up one of those news apps. But I’m proud to report that I didn’t obsessively refresh, and I quite consciously limited myself because I was also wanting to free up time to read a few books I had already partially begun.)

I even did my best to steer clear of the urge to watch the late night comedy (read: political) shows and, instead, look for comfort food such as nature and music documentaries, reruns of Frazier, the latest season of Gotham, and the re-boot of Will & Grace. Just last night my son talked me into starting to watch the entire Star Trek: The Next Generation series again, which feels pretty goddam perfect for the times we find ourselves in. With any luck, by the time we complete this lengthy binge, we’ll find ourselves in markedly different times. And for some reason I also found myself engaged in a selection of YouTube mini-binges: Fela Kuti, my old friends in the bands Dreams So Real and the Sidewinders, Rachel Sweet, and others. (Yes, I did just type “Rachel Sweet.” Should I also type “Rex Smith & Rachel Sweet”?) You’d be amazed at just how much mainstream news media you can NOT watch when you put your mind to it.

In this context, Facebook was an interesting case study in solitude, solipsism, and self-righteousness. Everyone’s experienced, at some point or another, a FB friend announcing he or she was planning on taking a break from the platform. These social media “vacations” are typically voluntary—maybe something happened in their lives that requires their extended attention, like a death in the family, and they get off the media knowing full well that upon their return they will be greeted with scores of so-very-sorrys and wish-you-wells that had been posted in the announcement’s comments section (can we all agree that the toothless, bordering-on-banal, phrase “sending thoughts and prayers” should be permanently retired? put some actual thought into your condolences, people!); and that they will dutifully express gratitude for all the support that was expressed. Occasionally, the virtual departures from FB appear to be voluntary, but in fact they are probably done at the strong urging of a fellow professional and prompted by some bad behavior—say, you were caught texting a photo of your private parts to an underage kid, so you’re being told that maybe you should lay off the pro-Weinstein FB rants and lay low for awhile; or you innocently posted some remarks that turned out to be nakedly anti-Semitic then made things worse defending yourself following the social media shitstorm, so your P.R. person suggests now might be a good time to take that sweat lodge sabbatical you’ve been talking about for ages (can we all agree that making one final FB post about your “needing to do some much-needed reflection and healing” is probably not a smart move either?).

Taking a cue from my old friend Peter Holsapple who, a day or two earlier, had announced he needed a short break from FB, I bailed. Mindful of the gnashing of teeth and rending of garments that would no doubt ensue if I simply disappeared from my digital community like a Second Life avatar soaring towards the heavens just prior to logging off, I made the usual bye-bye-to-Facebook announcement at my FB page . Facebook, I had come to realize, is the Empathy Box that sci-fi writer Philip K. Dick warned us of in his classic book Do Androids Dream of Electric Sheep? It tricks us into thinking we are having a collective/communal experience every time we react to some tragedy, some offense, some heartwarming story, some quirky/funny/cool “thing.”

Trust me, all those digital murmurs of compassion or screams of outrage—which I am as guilty as the next person of typing onto my computer screen—along with all those “likes” and laughing/weeping emojis that we register throughout the day, amount to anything but a communal experience. In your social media cocoon, in your groupthink cyber-node, you are deceiving yourself. Sorry to break this to you, millennials, but you might turn out to be replicants (the vote’s still out), and if that’s the case, your brave new off-world experiences are rapidly coming to a conclusion. You want communal? See my below note about talking with a neighbor of mine face to face one recent afternoon.

I’m proud to say that as I ditched Facebook, I said nothing about healing, although as you may note below about “redirecting my energy,” though absolutely descriptively accurate, did come somewhat close to new age mumbo-jumbo. At least I didn’t work “sustainable” into the dialogue. Still, I promise that there were no deaths or tragedies in the family, no wiener photos or sex scandals, no anti-Semitic comments or excursions into misogyny, no bullshit I’d been needing to own up to for far too long. I was just burned out and bummed out in the wake of the worst week I could remember in over a decade, and I realized I had been and around in my gerbil wheel of ugly/tragic/hypnotic national news while accomplishing next to nothing at work or at home. Laying I bed one morning at 4AM, thrashing and adjusting and readjusting my pillow, I had even thought I was about to have a panic attack.

From my Facebook post:

“I’ve decided I agree with Holsapple – time for a break. From the general social media white noise, onslaught of listicles, etc., to the obvious political overkill and partisan baitmongering, to the “no, I have the biggest grievance here” attitudes, to the blatant p.r. pitches at what is a personal, and not a business, page that I get, FB exhausts me even when I am, myself, indulging in my own form of blatant behavior in order to get that one final “like” affirmation. I need to redirect my energy. Plus, there’s that fall veggie garden and kitchen rehab we have going on here at Mills University. See y’all next semester…”

And, damn, it felt good when I hit that “post” button. Don’t worry about me, I’m fine. But thanks for asking.

But Fred, you are also asking, what the fuck did you actually do while you’ve been off social media, restricting your news diet, etc.? I fucking banked a good bit of extra time in order to do other “stuff,” for starters.

A report this past March at Adweek, citing a study by Mediakix, indicated that the average amount of time spent per day on Facebook is about 35 minutes, and I can assure you it’s probably more on weekends or days off. In fact, 35 minutes seems way too low, based on what I’ve observed among quite a few of my FB “friends,” who seem to make 10, 15, 20, or more posts to their pages each day, then diligently reply to the comments while also making comments of their own on other friends’ timelines. So I’m going to up that 35-minute estimate to a still-conservative 45… hell, let’s just call it an hour per day, which means that I saved 8 FREAKIN’ HOURS over the course of the past 8 days simply by not dicking around on Facebook—8 hours is a COMPLETE WORK DAY if you have a regular job, or if you are a freelance worker and know how to organize your work day and discipline yourself.

Now, I can’t exactly wave my magic Make America Great Again wand and turn those hours into wages—maybe I should move to Kentucky and get a job in the coal mines since Trump and Scott Pruitt are definitely bringing those jobs and those wages back from a galaxy far, far away—but I reckon I could use the extra time to hustle up some outside writing gigs. Or maybe load all those shitty promotional CDs I get in the mail up for sale on Discogs, Amazon, or eBay—hell, I’ll even settle for averaging the local hourly minimum wage in online sales. I’m not greedy.

At any rate, if we are talking transforming all that digital time I accrued into real-world quality time, I think we have a winner, Bob. Here are some of the things I’ve been doing this past week that I either was not doing the week prior to that, or at least was doing in considerably smaller quantities:

  • Finished what seemed like The Never Ending Landscaping Project in our back yard, something we’d begun months back with the intention of wrapping it up by Fall. (Mission now accomplished.)
  • Burned a shitload of leaves and yard debris in the fire pit, which was semi-linked to TNELP but, since it was in a different part of the yard, something I considered a standalone project.
  • Got the last of my Fall vegetables planted in our two box gardens, and yes, I know that by the first and second weeks of October, one’s garden should have been planted, at very least, a month earlier. 6-8 weeks earlier if possible. So how much time did YOU put into your Fall garden, bub, in between trying to pay your rent and keep yourself I cigarettes and beer?
  • Helped my wife get our kitchen ready for a partial renovation. I don’t do demo on floors and walls, or install flooring and drywall, but I still understand that I’m expected to pull my weight in the prep work when there’s a family project such as this. (Memo to wife: please stop laughing.)
  • Started cleaning up the garage in anticipation of finally clearing out my storage unit where, for 100 bucks a month, I pay for the privilege of not being able to thumb through my collection of vinyl, CDs, books, and music magazines whenever I might get the urge to do so.
  • Alphabetized the vinyl records I actually do have at the house because, duh, that’s what a record collector does when he has some spare time.
  • Wrote 15 record reviews for BLURT and 3 for another outlet, most of which you lucky readers will be able to view on the site very shortly. That may not seem like a lot compared to the output of a lot of music writers, but don’t forget, I also have a 50-55 hour-per-week job as an editor at a print publication, so sitting at the computer during every free moment I have at home isn’t necessarily the most attractive proposition.
  • Went to the YMCA to shoot basketball with my son on three evenings, feeling both physically out of shape and needing to subject myself to the ritual humiliation of a 16-year-old smoking his old dad on the court in everything but free throws. (Very pleased to report an 80% percentage on those.)
  • Went to see Blade Runner 2049. Okay, I would have done that anyway.
  • Scheduled a long overdue colonoscopy. Okay, I might have done that anyway.
  • Started to make a list of random stuff I would have posted to Facebook if I had been on during the week. You know, all the crap you think is clever and profound and poignant while you’re in the moment—the same crap you roll your eyes at when you spot someone else trying to be clever and profound and poignant. I figured I could save it to post on FB whenever I decided to get back on FB, and we’d all have one nice communal empathetic chuckle—how meta of him!
  • Ditched my list of random stuff I would have posted to Facebook if I had been on during the week, because, duh.
  • Cooked a full breakfast several mornings for that same 16-year-old mentioned above, rather than just throwing some Eggos in the toaster. I don’t necessarily attribute this to having extra time; it’s not like I was getting up on a schoolday earlier than usual. But for some reason, I was feeling more productive than usual. When you feel good about yourself, you behave differently.
  • Finished reading Blood Done Sign My Name by celebrated N.C. author Timothy B. Tyson—I’d previously been kinda futzing along with it, reading a half chapter this morning and a half chapter the next evening before grabbing the iPad each time to scour all my news apps, because, Trump—and started reading a bio about Steph Curry and a novel by my friend Michael Goldberg. Regarding BDSMN, a stunning memoir about growing up white as the son of a liberal minister in the segregated South of the ‘60s, my own kid had urged me to pick it up after he’d finished it for a class assignment, telling me he thought Tyson’s experiences seemed a lot like what he knew of my upbringing. He was right; Tyson is my new favorite author; and I’m pleased to say that when I tracked down Tyson’s email and wrote him to tell him so, he actually wrote back in less than a half hour, and we continue to exchange nots. (In the Facebook capsule-blurb era, who even has time for crafting a decent email anymore—emails now on the verge of become the digital dinosaur equivalents of old-school formal letters between correspondents. I’m finding myself trying to write friends and acquaintances notes with a bit more meat on their digital bones than “got your info—thanks!” or “let’s catch up soon!”)
  • And perhaps most revealingly: Spent a couple of hours commiserating with my next door neighbor regarding the Las Vegas massacre. In the past year living in our neighborhood, we’ve never been in each other’s house, but we sometimes chat over the back yard fence while going about our respective outdoors routines, and as I mentioned, I have been out there doing a good deal of work. This time, though, I was stopped in my tracks in mid conversation when he disclosed that the company he works for, a sound and audio company, was handling the Jason Aldean show that horrific night in Vegas. Only one of his employees was hurt, just a small ricochet injury, but the psychological injuries others experienced were potentially profound, and he’d already met with some of them, offering them grief counseling, extended time off, etc., if they needed anything to help cope with the aftermath. (Here’s a local media interview with one of his employees who describes in vivid detail what it was like to be on the mixing stage, under fire, and trying to take cover and get out of there.) A couple of times while my neighbor recounted all this, he became visibly emotional, as did both of us when we subsequently found ourselves talking about losing Tom Petty—he was a big fan himself. It was a sobering couple of hours, to say the least.

 

The point here should be obvious. There wasn’t anything I did during those “extra 8 hours” I picked up thanks to jettisoning social media from my life and trimming back my news consumption that I couldn’t (or shouldn’t) have been doing anyway.

But as regards that backyard convo with my neighbor, I’m not so sure. We all like to think that we readily sympathize and eagerly empathize (oops—somebody call Philip K. Dick) with one another on Facebook when something momentous has happened that affected them enough to post about it. But you sure can’t see that haunted, troubled look on someone’s face, or hear that sudden, spontaneous catch in someone’s throat, when someone is posting to Facebook.

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In an op-ed essay titled “Finding Grace Around the Kitchen Table” (online it’s “How to Find Common Ground”) that was published September 30 in the New York Times, conservative pundit and talk-show host Erick-Woods Erickson wrote about how a life-threatening incident and its aftermath forced him to look inward and try to figure out what he would want his kids to know about him that they might not automatically know if he were suddenly no longer with them. (This is something every parent, particularly if you’re a writer, ponders and even agonizes about at some point. So we start writing all that stuff down for posterity. Yes, I have. Thanks for asking.)

In the essay, Erickson also ruminates both obliquely and directly about some of the things I’ve been discussing here. The following 3-paragraph passage in particular stands out:

“As we have moved more of our lives onto the internet, we have stopped living in actual communities. Instead we have created virtual communities where everyone thinks the same. We do not have to worry about the homeless man under the bridge because he is no longer part of our community. He is someone else’s problem. But that simply is not true.

“Even as the internet provides us great advances, it also segments us. We have social-media tribes and our self-esteem is based on likes and retweets. We have hundreds of television channels and even more video choices online where Hollywood no longer has to worry about broad appeal. There is a channel for everyone, and everyone in the tribe will get the inside jokes. Social-media interactions have replaced the value of character.

“The truth, though, is that our Facebook friends are probably not going to water our flowers while we are on vacation and our Twitter followers will not bring us a meal if we are sick. But the actual human being next door might do both if we meet him.”

The value of character: To my Facebook friends who might opt to read all the way to the end of my own essay here once they have spotted me back online and noticed the link to this essay that I’ve graciously posted on my FB page: If you need your flowers watered, your mail gathered, your lighting scheme cycled, even your cats’ litter boxes scooped while you go on vacation, if I happen to be in the same town, just let me know, and I’ll do it. If you get sick and need somebody to go pick up some food for you because you feel too shitty to cook, or come walk your dog because you’re too worn out to deal with that hyperactive mutt, or take you to the doctor because you might feel worse at the end of the visit than at the start, I’ll do that too. Let me know. No strings attached.

Just don’t reach out to me on Facebook or try to message me. I might not be on FB. And I disabled Messenger months ago. Phone me, text me, email me, in that order.

Better yet, if you see my car in the driveway, just walk out to the back yard fence and holler in the direction of my back door. That, it turns out, is one of the oldest forms of social media in the world. And it doesn’t require cellphone service or a WiFi connection.

Daniel Matti: Movie Thoughts – Three New Film Reviews

Reviews of Valerian and the City of a Thousand Planets (by Luc Besson), A Ghost Story (by David Lowery), and Kuso (by Steve Ellison, aka Flying Lotus).

BY DANIEL MATTI / BLURT FILM EDITOR

(Go HERE to view the Blurt Movie Thoughts master page.)

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Valerian and the City of a Thousand Planets

Directed by Luc Besson

(3.5 out of 5 stars)

Luc Besson is not a common household name. For most hardcore action movie fans he is something of a staple name when it comes to the genre. Directing such movies as Le Femme Nikita, Leon: The Professional, and The Fifth Element. Also on his resume is a long list of writing credits including the hits Taken, District B13, and The Transporter series.

Valerian and City of a Thousand Planets is Luc’s newest film to hit the screens. Based off the late comic book series “Valerian and Laureline”, Valerian is now France’s most expensive movie ever made. Essentially letting Luc make his dream project. A dream project that is stunning but has its flaws.

While watching the movie myself I was nothing but pleased with the visual effects that were on par with Avatar (c’mon, Avatar had some beautiful visual effects) and a story line that was fun and comic book like (unlike Avatar). The dialogue was a little campy at times, but it seemed to be meant to be that way. The ongoing struggle between main characters Valerian (played by Dane DeHaan) and Laureline (played by Cara Delavigne) was the ‘ biggest weakness. The two characters were not a 100% match made in heaven or space, for that matter.

Overall, the film is a fun summer popcorn flick that will definitely please some of the audience, but not all who are looking for the year’s perfect film.

 

A Ghost Story

Directed by David Lowery

(3 out of 5 stars)

The newest movie by David Lowery (Ain’t Them Bodies Saints) starring Casey Affleck and Rooney Mara is an exploration of love, death, and the afterlife.

Spoilers ahead:

A brutal car accident that leaves “C,” played by Affleck, dead. “M” is played by Mara, and both will have to find their ways of dealing with death and the afterlife.

Most of the film plays around with the thoughts of an afterlife and that if when we die and were to become a ghost (with a sheet over us—yeah, like in Peanuts), we will wait for whoever fulfills our life most. “M” quickly leaves the house that she and “C” once shared, showing that “moving on” is sometimes difficult but also necessary at times. As “M” leaves, “C” is left there waiting for her as more tenants move into the house that they once shared.

 This movie is full of turns that will keep you here ‘til the end and will leave you with your own thoughts and expressions on death—but will also leave you scratching your head at times.

 The biggest flaw in the movie is the scene near the middle of the movie, where a group of friends throw a party and a partygoer goes philosophical and tries to sum up death and the afterlife while cracking jokes. For the most part it comes off as the guy at a party who, when he opens his mouth, you immediately go to the other room to avoid him at all costs.

 The imagery of the entire film is really what holds it together, but other than that I would say this one is a rental after you knock back a few cold ones.

 

Kuso

Directed by Steve Ellison (Flying Lotus)

(4 out of 5 stars)

Steve! Steve! Steve!

Recently the film Kuso by Steve Ellison, aka Flying Lotus, aka Captain Murphy, gave hardcore fans a real shock and awe for their money. With a cast that is full of Steve’s friends (including Hannibal Buress, David Firth, Anders Holm, Regan Farquhar aka Busdriver, and the one and only George Clinton) the film will have you saying what the fuck out loud more than just a couple times.

Clocking in a little over 90 minutes, Kuso is nonstop something. Something that is hard to stomach, visually that is. Something that is amazingly pleasing to the ears.

With the help of other musicians, the film is scored perfectly. Alongside the visuals that are hard to digest with your eyes, your ears are tested to keep the fuck up. Mr. Oizo, Aphex Twin, Busdriver, Akira Yamaoka, and Flying Lotus himself all lend their diverse taste in electronic music to the film—that I have to say, is one of the best and most disgusting films of the year. It’s easily of the most disgusting films I’ve ever seen, on par with films like Salo, or 120 days of Sodom, or A Serbian Film.

Horror geeks and fans of electronic music will find this movie to be a hit. Everyone else, grab a barf bag and prepare for your eyes to have “Kuso” rubbed in them.

 

***************

Daniel Matti is a 29 year old movie/music enthusiast who drinks too much whiskey and tries to watch movies on a daily basis. Contact him via email: dmrorschach (at) gmail.com

Tim Hinely: THE INSPIRATION BEHIND… Moving Targets’ “Faith” (1986)

Kenny Chambers discusses the key track from his band’s Burning in Water LP.

BY TIM HINELY

Ed note: We continue our series devoted to tunes that hold special places in our hearts and in our collective experience as devotees to and lovers of timeless indie rock. To kick the series off, we asked Eric Matthews, of both solo and Cardinal fame, to talk about his classic number “Fanfare,” from his 1995 Sub Pop hit It’s Heavy in Here. Next was Bill Janovitz of Buffalo Tom pulling back the curtain on one of his early gems: “Taillights Fade,” from 1992’s Let Me Come Over, cut with fellow bandmembers Chris Colbourn (bass) and Tom Maginnis (drums). After that we dipped way back to 1970 for the proto-power pop of Crabby Appleton’s “Go Back,” penned by frontman Michael Fennelly, and then fast-forwarded to 2000 for John Conley talking about his band the California Oranges and their pop gem “John Hughes.” Then it was back to the ‘90s courtesy Allen Clapp, who talked about “Something Strange Happens.” Now we drop in to 1986 and the Boston punk scene….

As far as I know Boston’s Moving Targets, led by main songwriter Kenny Chambers, had only cut a handful of songs before recording their massive debut, Burning in Water (Taang Records, 1986). Though they’d been bouncing around in one form or another since the early ‘80s—they emerged from the ashes of a band called Smash Pattern—the only recorded output they had was a few songs on the Conflict Records compilation Bands That Could Be God. I have to say, I was completely blown away the first time I heard Burning in Water. At the time, I was moving away from hardcore and listening to more mid-tempo, melodic stuff, and this record just hit that sweet spot. The band got a lot of comparisons to Husker Du, which I do hear as an influence, but I like Burning in Water more than any Husker Du record, which is saying something as I love Husker Du.

It was tough to only pick out one song, but I decided to ask Kenny Chambers about the soaring and powerful “Faith.” Kenny was more than happy to hit me back and tell me about the origins of the song and the recording of it. The band: Chambers on guitar and vocals, Pat Leonard on bass, Pat Brady on drums.

What was the initial inspiration for the song?
“Faith” was born during my time in the band Smash Pattern (Chuck Freeman on drums) in 1984. I’m sure there was some Mission of Burma influence coupled with a case of Old Milwaukee that we consumed at every practice. When the ‘targets came together again 1985 we started playing it.

Did it take long to finish writing it?
The song took a short while to put together. I wrote it whole then added a couple more parts on the following couple of weeks.

Any idea how your long time fans feel about it (i.e.: would it be considered a “fan favorite” or anything?)
I think any fan of the band likes that tune.

Was it a staple of your live sets even years later?
The Moving Targets had “Faith” on most set lists from 1985 to 2007. I don’t think that we ever got tired of playing it.

Is there anything about the song you’d change?
I wouldn’t change anything about it. The band played it well and Lou Giordano did a fine job of recording it and coaxing a good performance out of us.

Tell me a little about the recording of it – where and when, how long did it take, any watershed moments or glaring problems, etc.?
Recording the Burning in Water album was kind of a blur. We were so excited and it went so quickly (all of the basic tracks in a day and a half) that I personally don’t remember recording most of the songs. I know it sounded great in the studio with Lou and Carl Plaster and we were happy with everything. The only problem with recording was trying to adapt to a cleaner amp sound. Lou pushed the cleaner sound and I was used to total distortion. In hindsight, Lou was right on the money. The record sounds sharp.

How do you feel about it now?
I still think it holds up today.

Early Chambers photo by David Henry / via Wikimedia

Current Chambers photo from Versus the Goat podcast page

 

 

Fred Mills: Random #vinylporn Musings Nos. 18a & 18b

Why listen to shitty-sounding streaming music on Spotify for free when you can pay for the privilege and have something to show for it?

BY FRED MILLS

This week, as June turned into July, in between the Health Care Follies revue, bleeding facelifts, and a preview of looming voter fraud/suppression tussles, we still received some happy #vinylporn news, that the Sony Music record pressing plant in Japan was getting its turbines cleaned up and dusted off in anticipation of cranking out the wax once again. Most of the media coverage, though welcome, was pretty matter of fact and superficial, to be honest, with reports simply pulling out a few lazy statistics about the contemporary “vinyl resurgence” (I officially proclaim that term to be a cliche now – if something has been “resurging” for more than 5 years, I think it’s officially an “ongoing trend”) and quoting some random hipster journalist. (Yes, NPR, I am available for comment. Call me.)

I’m waiting for The Onion to tackle the topic soon, since the last vinyl item I recall from them is from 2011, “Cool Dad Raising Daughter On Media That Will Put Her Entirely Out Of Touch With Her Generation” http://www.theonion.com/…/cool-dad-raising-daughter-on-medi…

However,Britain’s The Guardian did a pretty decent job with their report “Records come round again: Sony to open vinyl factory in Japan” – check it out HERE – and also dig the photo of a Japanese pressing of Let It Be, since that is literally the only genuinely relevant, context-wise, photo I’ve spotted in all the Sony Japan coverage.

The one thing that all the reports overlooked, or at least could have mentioned as an intriguing and relevant sidelight, is that back in the day, Japanese pressings were considered the gold standard by many, if not most, collectors. After a certain point you could certainly get audiophile reissue pressings from Mobile Fidelity and a couple other Stateside labels catering to a niche market (typically jazz and classical), but Japanese releases still had a certain allure and cachet, both for their reissues and new releases – and, sometimes, for their exclusive nature.

For example, there was the stunning live-in-Japan Miles Davis release Agharta, and Santana’s classic live rec Moonflower, both of which I put considerable energy into tracking down. They weren’t cheap, either. A lot of folks probably forget that Cheap Trick’s Budokan album gained traction initially as a white-hot import-only release – that was the only way you could hear it. I would venture to say that folks prized Japanese pressings for their heavy-weight/virgin vinyl provenance (something that US labels abandoned early on – RCA and Dynaflex pressings, I’m lookin’ at YOU for making all that possible long before the oil shortage affected the record industry), the ongoing use of heavy-stock tip-on sleeves and poly-lined inner sleeves (ditto), and not-essential-but-still-cool extras like outer OBI strips and liner notes or lyrics not included in other countries’ pressings. Gee – it’s almost like in 2017, labels that really care about releasing a quality product with classic touches like 180gm and/or colored vinyl pressings and thick-stock gatefold sleeves, are taking their cues from the heyday of Japanese vinyl… you could even propose that Japan, often a pioneer in technological trends back in the day, pioneered the art of… wait for it… #vinylporn.

***

As long as we are on the #vinylporn topic, I noticed this week that Atomic Disc in Oregon is having a sale on pressing records. I have no idea what the going rate is at other plants or what a “good rate” might be, but currently, 300 copies of an LP on black vinyl will cost you $1750, which comes out to only about $6 a platter. The price is only $3.20 per copy if you get 1000 copies. (Yeah, do that math quickly, and then think about that $29.98 list price major label LP you bought last week.) A download card included will cost an extra $100, and if you want colored wax (of course you do) it will be $2149.

As you might imagine, my punk band Bo Oswald & the Biohazard Boys and I plan to press our debut, Binky The Troll – a Rock Opera, on splatter vinyl. That bumps the cost of 300 copies up to $2689, but hey, we care about YOU, our fans, so no price is too great… see ya in the record bins.

Fred Mills: Old Loyalties, New Music, and Boise’s Like A Rocket

For a music journalist, there’s no better feeling than finding out your initial instincts were correct. Meet one of Idaho’s best bands.

BY FRED MILLS

Musically speaking, Idaho tends to ping the national radar only occasionally; for the indie-rock milieu, Josh Ritter and Doug Martsch (Built to Spill) are probably the best-known Idaho native sons. Yet the state does in fact have a thriving music scene, with plenty of bars and breweries on hand to play host. You can count Boise’s Like A Rocket among the extant talent, championing regional breweries and arriving soon with their third full-length, High John The Conqueror.

The trio— guitarist/vocalist/songwriter Bobby “Speedy” Gray, bassist Andy Cenarrusa, drummer Max Klymenko—powers straight outta the gate with raucous, roots-rock raveup “Ain’t It All A Work Song” (it’s below, and also at their Bandcamp page for purchase as first single from the album), sending a sonic statement from the get-go they are here to kick up some dust and kick some ass. Sinewy yet deeply melodic Americana is the name of the game, from the twangy, Georgia Satellites-esque “Follow Me Down (to the party by the river)” and slide guit-powered stomper “The Devil of T.V. Paul’s” to the straight-up country rock of “Tuxedo and Anna Leigh” and lovely, Latin-infused cowboy ballad “Magdalena.”

There’s also the album’s psychological centerpiece, “Dark Blood.” Following the stage-setting, 30-second title track, a rippling acoustic guitar instrumental, this rumbling, brooding blues unfolds as a fatalistic tale of mortal sin and retribution: the former, at the hands of Gray’s haunted protagonist; the latter, courtesy album namesake High John, a living, breathing hellhound on the singer’s trail. Classic blues imagery abounds—roosters that are crowing, muddy waters that keep flowing, slaves on the block, “Tarrytown,” ropes dangling from trees—as Gray, voice framed amid a steadily rising chorus of snarling psychedelic guitars and tense martial percussion, realizes his time is near (“Brother, dear brother, take my fine young wife/ ‘cos I got a meeting comin’ with High John’s knife”). It’s a masterful performance, part Steve Earle, part “Sympathy”-era Stones, part Robert Johnson, all Like A Rocket.

As a band, this is a fluid, flexible beast, shifting easily between multiple styles while maintaining a taut, focused core. (A perfect example of this style-shifting is “Cry Baby Cry” which, with its low, echoey, shantylike vibe, initially suggests classic cosmic twang; but as the tune progresses, it ascends and turns anthemic, a marriage of gospel-inspired vocals and power pop guitars.) With songwriter Gray as their not-so-secret weapon—he seems to have absorbed a lifetime’s worth of influences yet instinctively knows when to put them on display and when to deploy them subtly, and nuanced—the three men also demonstrate a collective gift for arrangements that allows them to transcend the physical limits of a “mere” trio.

Ultimately, with High John The Conqueror, Like A Rocket is—pardon the painfully obvious cliché—clearly poised to take off.

***

Full disclosure: For yours truly, there’s a bit of a personal connection here. During the mid/late ‘80s, in my capacity as music editor for a Charlotte, NC, alt-weekly, I covered Gray’s early band, Helpless Dancer, on multiple occasions, and I instinctively gravitated to their glammy, hard-edged brand of power pop. (I still own a 45 they released during that time.) Their fan base was broad, and devoted. By that point Gray was already a scene veteran with serious chops he’d honed as a teenager touring as part of a gospel group, and after Helpless Dancer he wasted no time in forming a terrific post-punk group dubbed The Dollmakers. After I moved to the Southwest, however, I lost tabs on him, so to not only discover his current outfit now, many years later, but also learn that he made a similar move westward, also in need of a change of scenery, not long after I did makes for an oddly satisfying bit of synchronicity.

See, I’ve always felt that time and distance shouldn’t diminish memories or undermine old loyalties. Support the home team, so to speak. Here in 2017, I frequently encounter favorite musicians from back in the day who are still making stellar art, and in a weird way, having that type of insider knowledge about their backgrounds seems to subtly enhance my appreciation of their current efforts. It’s not necessarily a matter of comparing one incarnation to another one, but rather of having something relevant in common, and I’d reckon anyone can identify with that.

To all the rest of you, there’s plenty about Like A Rocket that, if you have an appreciation for honest, well-wrought, immensely tuneful American rock ‘n’ roll, you’ll be able to identify with. Crank up the stereo (you can get a quick taste at the aforementioned Bandcamp page, including a five-song EP, Raucous, comprising additional material cut during the album sessions) and make up for lost time—just like I’m doing now.

Fred Mills is the editor of BLURT magazine and Blurtonline.com

 

Tim Hinely: THE INSPIRATION BEHIND… California Oranges’ “John Hughes” (2000)

california oranges

Ed note: We continue our series devoted to tunes that hold special places in our hearts and in our collective experience as devotees to and lovers of timeless indie rock. To kick the series off, we asked Eric Matthews, of both solo and Cardinal fame, to talk about his classic number “Fanfare,” from his 1995 Sub Pop hit It’s Heavy in Here. Next was Bill Janovitz of Buffalo Tom pulling back the curtain on one of his early gems: “Taillights Fade,” from 1992’s Let Me Come Over, cut with fellow bandmembers Chris Colbourn (bass) and Tom Maginnis (drums). After that we dipped way back to 1970 for the proto-power pop of Crabby Appleton’s “Go Back,” penned by frontman Michael Fennelly. Now Prof. Hinely dials the wayback machine to 2000, as John Conley talks about his band the California Oranges and their pop gem “John Hughes.”

BY TIM HINELY

You’d think that being two hours east of San Francisco that Sacramento would be a veritable wasteland of musical talent. Ah…but you’d be wrong. Oddly enough for the capitol city of the Golden State (with a population of under 500,000) this hamlet has produced some of the best indie rock music out there. From Tiger Trap to Rocketship to Baby Grand to Arts & Leisure to too many others (you’ll see ‘em below). Well, a big part of that fabric is the music of the crew of John Conley and his sister Katie, the Levine Brothers (Ross and his brother Matt) and Verna Brock (who was also in Rocketship for a time as well as doing her solo project under the name of Beanpole). They’ve been spread out amongst bands like Holiday Flyer, Desario and Soft Science, but there was one band that all of them had passed through at one point: California Oranges.

For their self-titled debut from 2000 (On Darla Records) the band was a trio of John, Verna and Ross. For later albums both Katie and Matt came aboard to make the band a 5-piece, but this particular song, “John Hughes” was from the previously mentioned debut.

For those of us used to the (mostly) very soft sounds of Holiday Flyer, “John Hughes” came popping out of the speakers like an M-80 stuffed inside a high school locker. A joyous blast of unbridled melody. The song is all about a guy trying to get the courage to ask a girl out, which, as we males know, in those high school years were the mostly nerve-racking, anxiety-inducing experience (personally I had to know 100% that the girl liked me before I would even ask her out and even then I’d be ready to have a heart attack while other guys in school, those with no fear at all of rejection, would walk up to any girl an ask them out, usually getting shot down and laugh about it).

“John Hughes” is one of my favorite songs by the California Oranges and I was curious about its origins. I shot some questions over to John Conley and he was more than happy to give me some answers.

BLURT: What was the initial inspiration for the song?

CONLEY: Well, I guess John Hughes and his films. As I teenager I could really identify with the characters. I must have been re-watching at the time. I was also really into Kevin Smith (he is referenced is the song) and his films reminded of the Hughes.

Did it take long to finish writing it?

If I remember correctly, it came together pretty quick.

I think it was one of the last songs I wrote for the first album.

I had the main guitar riff and the melody and first verse.

I remember showing the song to Verna and Ross, and they both really liked it.

I think we knew at that point it would start the album.

Any idea how your long time fans feel about it (i.e.: would it be considered a “fan favorite” or anything?)

I’m pretty sure it was one of our most popular songs. I was going to be featured in a documentary about John Hughes. Ross Levine and I were interview for the movie and the band rerecorded the song to be included on the soundtrack. We were told we made it through the 3rd or 4th cut of the film. During the editing process of the movie John Hughes passed away and the music portion of the movie was shortened.

Here are some links about the film:

https://www.youtube.com/watch?v=Y0fPLN459_I

https://en.wikipedia.org/wiki/Don’t_You_Forget_About_Me_(film)

john conley

Was it a staple of your live sets ever years later?

It stayed in the live set up through the 3rd album.

Is there anything about the song you’d change?

No, I think it’s a good snapshot of where I was as a songwriter at the time.

I wanted to do something very different from Holiday Flyer. I feel we mostly succeed. When the band started playing live, one comparisons we got was Belle and Sebastian meets Ramones.

I always liked that.

Tell me a little about the recording of it – where and when, how long did it take, any watershed moments or glaring problems, etc.?

I think the recording came out cool. We wrote and recorded that album very quickly. Verna (Brock) and I each had 5 song ideas. We rehearsed with Ross (Levine) 3 or 4 times and recorded and mixed the record in the evenings or a week. JH is my favorite song on that album. I do have some problems with the production on that album as a whole, but “John Hughes” came out great. We also recorded a cover of Vanilla Blue by Naked Raygun during that session that is one of my favorite recordings California Orange did.

How do you feel about it now?
I still really like this song. It’s so different from what I’m doing now in Desario, but I’m proud of this period in my music career.

 

Fred Mills: Recent 45 Reviews (and some not-so recent..)

Ed. note: We dig vinyl here at the BLURT temple of wax. And we dig it no matter the size. A number of singles have been turning up in the post of late, so who are we to complain? Here’s the lowdown…

FEEDERZ – WWHD (What Would Hitler Do?) 7”

Slope / www.sloperecords.com

Two slices of searing guitars and political screeds.

The Bay Area-Phoenix punk connection has always been symbiotic, and this 7” platter by Arizona’s Feederz neatly bridges the temporal divide between the early ‘80s and now: guitarist/vocalist Frank Discussion is joined not only by early member Clear Bob on bass, but also by drummer DH Peligro—yes, THAT DH Peligro, from the Dead Kennedys, San Fran legends who befriended the Feederz as early as 1981 then the band appeared on Alternative Tentacles compilation Let Them Eat Jellybeans.

As produced by the Meat Puppets’ Cris Kirkwood, WWHD serves up a twin-pack of pure outrage and sonic scree. Side A, “Stealing,” boasts a sinewy, fuzzed-out riff, a metronomic rhythm, and Discussion’s edgy vocal sneers, growls, and grunts as he mounts a call to arms for citizens to rise up and take to the streets: “Tonight we’re settin’ the world on fire.” And “Sabotage” makes explicit Discussion’s attitude to the current Republican administration – as if the sleeve art depicting a scowling Trump as Hitler didn’t already tip you off – with a snarling challenge set against a staccato, almost Wire-like minimalist funk-punk backing:

Time to put this country out of our misery…
You wanna fuck with Mexicans, you wanna fuck with blacks,
You wanna fuck with all o us? Then you better watch your own fucking backs.
We’ll be taking down your empire
And turning it into a bonfire.”

Clearly this band is, as the saying goes, “fired up.”

The single, incidentally, is pressed on beautiful orange vinyl—perhaps the same color as a certain politician’s hair and spray-on tan? Included is an inner sleeve with complete lyrics and a photo of the band wielding automatic weaponry. Best take them seriously.

THE SWEET THINGS – “Love To Leave” 7”

Spaghetty Town / https://www.facebook.com/SpaghettyTown/

More cowbell! Dolls/Stones acolytes know their sonic debauchery…

They could only be from Noo Yawk—East Village denizens The Sweet Things serve up a twinpack of Dolls, Stones, Hanoi Rocks, G ‘n’ R, and the like. Weaned on punk, subsequently smitten by glam, all scarves, mascara, and a serious Jack Daniels habit.

The fiery foursome kicks off their latest 7” single—grab it on hot pink or midnight black vinyl, collectors— with “Love To Leave,” all power riffs, sleazy slide leads, pounding ivories, and clanking cowbell. (But of course.)

Flip for the sensitively titled “Cocaine Asslicker Blues,” and no, it’s not a GG Allin cover. Instead, think Johnny Thunders backed by the original Alice Cooper band. You’ll fill in the cowbell parts mentally. Some things just continue to be revived as each new generation consults the classics. God bless The Sweet Things for diving wholeheartedly in. Sweet!

BALKANS-PEDRO FOUR-WAY – 4-song 7” EP

ORG Music / www.orgmusic.com

Garage pop and funk punk from the Mike Watt extended family.

The curious band name owes to the fact that the four bands on this 7” EP hail from  Zagreb, Skopje, Belgrade, and San Pedro, CA—the latter, of course, being Mike Watt’s home base. (You may have heard of him.) It’s a stellar slab of wax at that.

Thee Melomen kick things off with a spot-on slice of guitar-organ garage that bears worthy overtones of earlier European garage avatars the Nomads and the Watermelon Men. Up next is Vasko Atanasoski serving up a minimalist bit of pop-funk—the funk being supplied by Watt on Bass—not unlike recent material by distaff rockers Warpaint. Flip the platter—you remember how to do that, right?—and the stereo spews forth with a kind of Beefheartian blues-skronk take on Watt’s song “No One,” courtesy Disciplin a Kitschme. And Watt and his Secondmen themselves maintain that mood for “Do Not,” which was penned by fellow bassist Koya, from DaK, turning the dial up to “hectic” in true Watt fashion.

The EP arrived for this year’s Record Store Day, incidentally, limited to 1800 copies and pressed on both green and black vinyl—the two colors were inserted randomly in sleeves, so you basically flip the coin when you break the wrapper

THIGH MASTER – “B.B.C.” (7” 45)

12XU / www.12xu.net

Power pop riffage takes a Pavement-esque distorto detour, Australian stylee.

Hoo-boy, don’t even try Googling this band unless you still cling to adolescent fantasies of Suzanne Somers (that’ll date you). Instead, direct your jizz in the direction of the Brisbane (Australia) outfit’s Stateside label, which will kindly provide you with a Soundcloud link to the group’s latest A side. It is, indeed, the sonic equivalent of—as the band’s bio assures us—“a lost Flying Nun band.”

Now, I don’t expect anyone reading this, other than my partner-in-Oz (and BLURT blogger) Tim “Dagger” Hinely to fully dig that ref. So perhaps I should laud the Oz outfit’s masterful deconstruction of twinkly power pop riffage, in which they overlay distorto-rumble stylings and Pavement-esque rhythmic ruminations, ultimately emerging with a tune that, verily, defines Indie Rock 2017. (Or maybe 1987, take your pick.) But that would be saying a mouthful, and life is short.

Once upon a time, Amerindie labels would take a chance on Down Under artists, damn the quarterly reports. The golden era of 1985-95 (or thereabouts) passed long ago, however. Perhaps with folks like 12XU and In The Red stepping into the commercial fray anew, other labels will pick up the baton.

FITS OF HAIL – Belmore 7” 45

Sound of the Sea / www.soundofthesea.com

The Upshot: Velvets-esque folk rock and choogling drone, with a distinctive Clevo vibe, and on colored wax to boot.

This utterly gorgeous—sonically and visually—splatter-colored vinyl 7” comprises a pair of must-hear tracks, along with a bonus digital tune should the consumer opt for the CD or download versions. If you are a regular reader of BLURT, you no doubt already know which format we strongly recommend. It’s by Cleveland quartet Fits of Hail, the brainchild of vocalist/guitarist Chris Anderson, who did the bulk of work on the previous two FoH releases, and is now joined by bassist Alan Grandy, guitarist Mike Reilly, and drummer John Kalman. Together, they make a moody-yet-joyful noise of an irresistible earworm quality.

Main track “Clutter” has a kind of low-key, subtly choogling Velvets vibe, a folk-rockish drone ‘n’ chime emitted from the guitars and Anderson’s yearning vocal powering the narrative. Flip the single, though, and be prepared for, as the saying goes, something completely different: “Came Through the Change” has a brash—in places almost ground-zero, late ‘70s NYC punk—vibe, all tumbling percussion and fuzztone riffs spliced by Verlaine/Lloyd-style fretboard strafing.

It’s only one man’s vote, but allow me to just state for the record: Fits of Hail. Long-player. Now.

You are welcome to head over to their Bandcamp page where the three Belmore tracks can be downloaded for a ridiculously affordable price. Once you do, though, I predict you’ll find yourself coveting the aforementioned color-wax physical artifact, so surf on over to the label website and order away.

BORZOI – Surrender the Farm  7” EP

12XU / www.12xu.net

Australian noize-rock that will have you camping out at the Ticketmaster office.

Are they from Melbourne, Australia, or recent transplants laying seed in Austin, Texas? Considering the sheer brazen, brutal (but serene to we tinnitus-afflicted music fans) racket this trio makes, it’s a moot point. On this four-songer, Borzoi sings of flak jackets, millipedes, Florida, Skoal chaw, and existential dread (of the latter topic, I’m not certain, but work with me). It’s kind of like fellow Oz-ites feedtime, if feedtime’s members were reincarnated as glue-sniffing teens, recorded all their material live, and then processed the resulting tapes through a CB microphone.

I’m sorry if most of you have no idea what a CB is.

There’s something remarkably energizing about this band, the kind of “energizing” that one dares not attempt to put the proverbial journalistic finger on. If records, in 2017, are supposed to be groups’ calling cards for tempting the public to spring for tickets and tees, consider this Oz aficionado “sold.” Where do we queue up?

 

 

SCHIZOPHONICS – Ooga Booga 10” EP

Pig Baby / www.pigbabyrecords.com

The Upshot: With a sound hearkening back to the MC5’s Motor City ramalama, the San Diego trio unapologetically kicks out da… you know.

Ooga booga, indeed. San Diego’s Schizophonics—the unholy spawn of Roky Erickson, Sky Saxon, and Rob Tyner—serve up a sonic scorched-earth policy guaranteed to singe even your nether hairs. I mean, seriously, folks, the music on this EP erupts from the grooves with such primal velocity, you can practically see a hologram of guitarist Pat Beers in full stage-leaping flight hovering over the turntable. (Check these photos at their website for confirmation.) The trio has been around since 2009, built around the nucleus of Pat and Lety Beers, plus bassist Brian Reilly, and has a couple of 7”ers to their credit, on Munster and Ugly Things, so you know that’s a TMOQ.  Ooga Booga seriously ups the ante, with nary a throwaway or B-side among the five tracks here.

From the outset they serve due notice: “Ooga Booga Boogalo” commences with a brace of klassic Kinks-style riffage and a Kick Out The Jams-esque arrangement (hence the aforementioned Rob Tyner namecheck). That’s followed by the riotous rumble of “Electric,” powered by sinewy, fuzzed out leads and Pat’s extemporaneous grunts and whoops. Flip the platter and get caught in the “Rat Trap,” another Nuggets-esque garage rockin’ gem of vintage Yardbirds aplomb. “Two Thousand Seventeen,” with its Keith Moon-worthy percussion and dark chordage, contemplates our contemporary era of reverse evolution to signpost the annum  in much the same way the Stooges marked the year of 1969.  The band wraps things up with “Venus Transit,” another slab of MC5 ramalama, all chaos and convulsion with a take-no-prisoners ethos.

Whew. Six successive spins of the rec, and I’m exhausted. Partially deaf as well. If this band tours anywhere near you, don’t miss it. But make sure you don your flame-proof pants before entering the club….

Consumer note: The EP is pressed on electric orange 10” vinyl, and each of the 1,000 copies pressed comes in a hand-numbered sleeve. It’s like getting Record Store Day early, so what are you waiting for, punters?

SOMERSET MEADOWS – We Will Rock 7″ EP
Self-released / https://somersetmeadows.bandcamp.com

The Upshot: The New Wave of the late ‘70s meets the alterna-nation of the early ‘90s.

Hey kids, nostalgic for the early/mid ‘90s? Me neither! The members of Portland’s Somerset Meadows clearly remember the era, but they’re smart enough not to emulate it despite having sonic overtones of Guided By Voices—which they preemptively state on their bio—as well as other indie/garage/lo-fi outfits such as the Grifters, Sebadoh, and the Mountain Goats. Like those avatars, SM have a knack for penning tuneful, hooky pop nuggets marked by careening guitars, riotous, Keith Moon-like drumming, and yowling vocals.

Lead track on this four-song EP (the follow-up to mini-album Time and Relative Dimensions in Sound) is “She Is Waiting,” a slice of revved-up British Invasion filtered through a Hold Steady lens, while the 1 ½-minute “Time to Shine” adds some surf-y riffage to the mix reminiscent of vintage Blondie. Hold that thought: this band wouldn’t have been out of place in new wave Manhattan, holding court in dives like CBGB and Max’s Kansas City and going for broke in front of a leather jacketed crowd night after night. All four songs here inhabit that rock ‘n’ roll fairytale universe, and luckily enough, for us the setting is 2017.

This limited-edition (250 copies), hand-numbered vinyl platter may or may not be sold out by now, but even if it is, you can preview it at the Somerset Meadows Bandcamp page and buy it digitally.

MINT TRIP – “Ghosts” 7″ (colored vinyl)
Blue Elan / www.blueelan.com

The Upshot: Sultry, sexy, danceable trip hop, pop and soul.

L.A. 2 guy/1 gal trio Mint Trip swirls and skitters in a mélange of pop, soul, and electronica that suggests a summit between classicists Saint Etienne and trip hoppers Portishead. For this vinyl 7” debut—comprising three songs from the five-track Books digital EP—the focus is squarely on sultry singer Amy Gionfriddo, originally from St. Leonard, MD, as graceful as a lioness, and blessed with the kind of supple pipes that could find a niche no matter the genre; indeed, the band’s “soul” component is decidedly jazz-infused. Amy is joined by L.A. native Brian Gross and Cary, NC, guitarist Max Molander. The three met at the University of Miami prior to landing in Los Angeles.

“Ghosts” is elegance personified, powered by a purposeful bass bumps and synth pulses, and of course that ethereal voice. Flip the platter over for “By The Sea” and “Virga,” the former a hypnotic, ethereal pop ballad; the latter, a luminous, gospellish slice of chilled-out soul. Point of fact, you can hear these tracks and additional two at the band’s Soundcloud page (“Canvas” is particularly compelling), so you have no excuse for not immersing yourself in Mint Trip’s sweet, hummable, danceable music.

Bonus points for the gorgeous turquoise vinyl, too. A download card is included that will net you all five songs.

PETER HOLSAPPLE – “Don’t Mention the War” 45

Hawthorne Curve  / http://halfpearblog.blogspot.com/

The Upshot: Against richly melodic backdrops, the dB’s member offers up character studies of poetic intent. Oh, and by the way: Support the home team, folks.

Despite being one of North Carolina’s most prolific and respected songwriters, Winston-Salem ex-pat (and current Durham resident) Peter Holsapple actually hasn’t released that much under his own name. There was early 45 “Big Black Truck,” a primal slab of psychobilly punk garage, released in 1978 at the tail end of his stint with the H-Bombs and serving as a segue into his lengthy tenure with the dB’s; a limited edition Australian-only cassette titled Live Melbourne 1989, which documented a solo radio station session; 1997’s gorgeous Out Of My Way CD; and let us not overlook his 1991 collaboration with dB’s songwriting foil, Chris Stamey, nicely titled Angels, and the an accompanying handful of Stamey-Holsapple singles.

Longtime Holsapple watchers, of course, know simply to scour record credits if they want to unearth a wealth of Holsapple material, from the dB’s albums and EPs (include, in this tally, the Chris Stamey & Friends Christmas Time album) and his work with the Continental Drifters, to the very early Rittenhouse Square album and the (possibly apocryphal) Great Lost H-Bombs Double EP 10”—not to mention a number of online-only tracks he’s slipped into the digital realm on occasion.

All of which is to say, a new Peter Holsapple record makes for a special event, one which we fans don’t take lightly. The fact that the new item is a mere two-songer potentially allows each track the kind of proper consideration that might’ve been elusive if placed in the context of a full album. The A-side, “Don’t Mention the War,” finds Holsapple joined by Mark Simonson from the Old Ceremony on drums and acoustic guitar and James Wallace (Phil Cook’s band) on piano and drums, plus tuba textures courtesy Mark Daumen. Holsapple handles guitars and organ while spinning a 6 ½ minute tale in which the narrator observes and comments upon a beloved uncle’s return home and subsequent battle with PTSD (“he sweats and he shouts and he turns white as a sheet… he opens his eyes, he’s still seeing the dead… he hasn’t picked up a guitar in nearly three years, I can scarcely recognize the same man”). Midway through the song the drum pattern turns overtly martial, underscoring the implicit tension in what’s otherwise a richly melodic, midtempo slice of pure pop; the tune’s subtly contrasting sonic elements help lend gravitas to the unsettling lyrical character study.

Meanwhile, “Cinderella Style” has a gentle, nocturnal vibe primarily wrought by Holsapple’s acoustic guitar, bass, and organ, with Simonson adding delicate touches of vibraphone and Skylar Gudasz contributing flute flourishes. “Love can mend a dress,” he sings, going on to describe the creation of a physical garment of calico, gabardine, satin, silk, and velveteen while hinting at the metaphorical implications of the act. The tune is relatively brief, deliberately restrained, and perfectly poetic in its imagery.

Holsapple recently told me that he opted for doing a single because he wasn’t quite sure he should thrust a full album’s worth of new material into the market, given music consumers’ relatively short attention spans and tendency to favor tracks over albums nowadays. Fair enough. I think he’s underselling himself, however. All that music mentioned at the top of this review (not to mention his contributions to other artists’ work, such as R.E.M. and Hootie & the Blowfish) comes stamped with the Tarheel TMOQ, so I have no doubt whatsoever that we fellow North Carolinians would be first in line for a Kickstarter-type campaign and any resulting record store product. People vote with their wallets, after all.

And while I’m loathe to invoke any electoral notions considering what we’ve all gone through recently… could I nominate Peter Holsapple for Minister of Music? Poobah of Power Pop? Raconteur of Rock? Hmmm…. why the hell not?

THE YOUNG SINCLAIRS – You Know Where to Find Me 7” EP

Planting Seeds / www.plantingseedsrecords.com

The Upshot: Jangle pop as timeless and classy as it comes

Though this 4-songer came out a few years ago, I’m only just now discovering the Virginia Beach/Roanoke area band. And it’s well worth backtracking to hear the record—it may be long gone by now, but you can year it at their Bandcamp page—particularly since this is the kind of timeless and classy jangle pop we aficionados live for.

All four songs are stellar, in particular the title song, which could be a Shake Some Action-era Flamin’ Groovies outtake. “Ear to the Ground” is another must-hear, a slice of British Invasion thump with a sleek, tremolo-powered guitar riff to die for.

The aforementioned Bandcamp page would suggest that the Young Sinclairs are incredibly prolific, and they’ve been particularly fond of the 7” format. Fellow collectors, your course is clear…

HEATHER WOODS BRODERICK & BENJAMIN SWETT – Home Winds (Book + 7” 45)

Planthouse Gallery / www.planthouse.net

The Upshot: An environmental elegy, and an extended meditation session—relaxing and soothing to the soul, but with its own elements of intense focus, and revelation. 

While it’s a given that more than a few culture vultures have hopped onto the #vinylresurgence bandwagon (Taylor Swift, anyone?), eschewing relevance for trendiness, and the accompanying misguided “cool” factor, some entries have come along that not only defy that assumption, they transcend it so beautifully that you almost assume they were beamed down from another dimension or era.

Such is the case with the printed/recorded artifact at hand. Home Winds is, on the one hand, a 7” vinyl single by songwriter Heather Woods Broderick, offering up a haunting environmental elegy, a shimmery, pulsing song for the trees. “Do I truly recall your face from when it was young,” sings Broderick, in a hushed, partly quivering voice, recalling at times Sandy Denny, adding gospel touches on the chorus, and musing upon a permanent image of a tree, as if it were a beloved family member, possibly no longer with us. “Or from a photo I’ve seen, on the wall on which it was hung,” she adds, acknowledging that memories are tricky, and how they can somehow be replaced, due to the passing of time, by a photograph that survives and reinforces itself via repeated viewings. (The B-side, “Shoreline,” is similarly low-key, its lilt no less engaging and ethereal.)

She’s joined, visually, by photographer Benjamin Swett, who set out to document Gladstone, New Jersey’s Home Winds Farm, a parcel that has been protected via the New Jersey Farmland Protection Program, for its owners, who also operate Planthouse Gallery. Swett’s mandate here is to create permanent portraits of the many trees—many of them huge or otherwise so broad and expansive that they can dominate an entire two-page spread in a book such as this—dotting the farm. Pink-blossomed spring arbors alternate with snow-spackled wintry residents, as well as the sturdy green boys of summer, and the yellow, orange, and crimson citizens of autumn. The result is a permanent record of nature as it cycles through its annual beauty.

Contributing to the project is journalist Elleree Erdos, who provides historical context as well as an insightful analysis of the nuances that Swett’s images bring to the fore. Ultimately, Home Winds is like an extended meditation session—relaxing and soothing to the soul, but with its own elements of intense focus and revelation.

That the participants opted to present the music not on CD or a mere link to a digital file, but a 45rpm record housed in a lovely full-color, thick cardboard picture sleeve—yes, adorned with Swett’s trees—additionally speaks to the care taken in the presentation of Home Winds. It’s a subtle, personal touch that counts for a lot in certain quarters (such as mine).

Additional note: Go to Planthouse.net to view a video for Home Winds, created by Jeffrey Rowles. Below, watch the promo video for the book/45, followed by a live clip of Broderick from late last year. The exhibition dates at Planthouse Gallery will be April 28 through June 20, with the reception being held on April 28 from 6PM to 8PM.

 BONUS BEATS: A FEW OLDER REVIEWS

Deniz Tek – “Crossroads” b/w “Oh Well” 7″ (2014)

Career/ www.careerrecords.com

No, not that “Crossroads,” although l’il Robby Johnson would still approve; instead, it’s an original from the Radio Birdman geetarzan, and a smokin’ slab of straight up garage slop it be. But yes, that “Oh Well”—specifically, the hi-nrg raveup Pt. 1 of the Peter Green/Fleetwood Mac classic, and I’d reckon that it puts to shame pretty much every other version of you’ve heard over the years with the exception of the original. Pressed on lurid purple wax, and hats off to the Career label (co-helmed by Tek and his buddy Ron Sanchez, of Donovan’s Brain) for their subtle appropriation of the old Atlantic Records promo logo for their label art.

Freak Motif – “Killin’ Me” b/w “Killin’ Me (instrumental)” 7″ (2014)
KEPT / www.kept-records.com

The latest in Kept’s so-far-unblemished series of funk-centric wax finds eight-piece Canadian combo Freak Motif getting’ gritty with a slice of JB’s-inspired fonk, heavy on the trancelike groove while a blazing horn section takes everything to the bank. Or the bridge, if you insist. The instro version of “Killin’ Me” has swagger a-plenty, but when guest vocalist Lady C takes the mic on the A-side things get saucier and sexier by the bar. Hell yeah.

 

Peter Buck- Opium Drivel EP  7″ (2014)
Mississippi / www.mississippirecords.com

Following up his latest solo album (as well as last year’s Planet Of The Apes single, that-guy-who-useta-be-in-some-famous-band teams up, once again, with Scott McCaughey and several partners-in-crime for a 4-songer. Just the pounding Charlie Pickett & the Eggs cover alone (“If This Is Love…”) is worth the price of admission, but you also don’t wanna miss the fuzz-garagey “Portrait Of A Sorry Man” for the series of inside-joke lyrical bon mots (among them: “I’m sorry I invented indie rock… the whole thing started out so well, how was I to know?”). A pair of uncharacteristic acoustic aces on the flip, notably the strummy/jangly “Welcome to the Party,” join the aforementioned joker and king, giving Mr. Buck a pretty strong hand in this game.

 

Graham Day & the Forefathers – “Love Me Lies” b/w “30-60-90” 7″ (2013)
State/Sandgate Sound /  www.staterecs.com

This garage-shocking power trio comprises gents who’ve served time in The Prisoners, the Prime Movers, the Solarflares, the James Taylor Quartet and Billy Childish’s Buff Medways, so with that kind of collective resume you’d be right in presuming some jams will be kicked out. “Love Me Lies” revisits an old Prisoners tune in glorious metal hues lined with careening riffs and wah-wah squiggles. Even better is the organ/guitar powered hi-octane R&B instro flip hailing from the pen of one Willie Mitchell (who originally wrote it for the Get Carter soundtrack). (—Fred Mills)

 

Insurgence DC – “True to Life” b/w “Man in Black” 7″ (2013)
Crooked Beat /  www.crookedbeat.com

Based in the nation’s capitol and with Triangle (N.C.) roots, Insurgence plays old school punk with the kind of vim ‘n’ vigor long associated with the punk scenes of those two locales. Indeed, bassist Bill Daly’s lead vocal on the blazing “True to Life” has the type of rabble-rousing anthemism (“Get it out/ Stir it up/ Shout it out now!”) that we’re sorely missing these days (the Occupy movement could’ve used an adrenalin shot of Insurgence). Meanwhile, “Man in Black” marries a rebel-rock message to a twangy riff and a cowpunk thump; you’d be hard pressed not to put your pogo boots on and get to scootin’ when this tune cues up. Available on both black and super-limited yellow vinyl, wax fans.

Fred Mills: Misogyny Mea Culpa in a Trumpian New Order

This is one man’s brain on offensive stereotypes, patriarchal entitlement, and reflexive ignorance. Time to make amends, and a pledge. Any questions?

By Fred Mills

Ed. note: The graphic I selected, above, is not intended to be humorous or ironic, so please don’t regard it that way. It was a bit difficult to arrive at an illustration that I felt was appropriate to the dialogue that follows, so I hope it will at least be viewed as relevant. If you agree, pass it along.

 No excuses: I fucked up supremely a week and a half ago, and I deeply regret it. I made an off-hand “joke” on Twitter that relied on a misogynist trope. The comment I made – since deleted; I announced I had done so in the interest of transparency – equated women with prizes to be won by men instead of full human beings in their own right. I know better. At least I thought I did. What I said was deeply offensive in any context, and for that I want to apologize to every woman, not simply to those I know (who rightfully asked WTF I was I thinking). I also want to apologize to men for perpetrating this stereotype amongst ourselves, because we have clearly reached a point where trying to pass off comments like that as “just” guy talk or locker room talk is not only ignorant, it is offensive in and of itself. And I want to apologize to LGBTQ and non-binary people because I see you and you matter; my joke erased your humanity too.

There’s no way to rationalize it or excuse my way out of it. I can see now, as some have pointed out, that my initial apologies were made from a place of defensiveness and woefully inadequate. (There’s an earlier post of mine, from the other weekend on the BLURT Facebook page, where you can read those comments and the subsequent responses.) I’m going to own my mistake.

This lengthy post is my attempt at a proper, more complete apology and my promise to be (and to do) better moving forward. I’m not here to make the conversation about me. But since women don’t have the option of avoiding misogyny, I can’t either. Especially when I’m guilty of perpetrating it.

That’s the truly frightening thing: how blithely I made the original Twitter post and in the process invoked a sexist idea and used misogynist term — in short: I didn’t even think about it. It was so reflexive, such a common shorthand, the fact that it is offensive didn’t even occur to me. And in that moment I confirmed my membership in this giant sprawling frathouse. Guys, think about how often you “don’t even think about it.” It might prove scary to you as well.

With that single, decidedly unfunny joke, I placed myself in league with a pervasive mindset I have previously claimed to hate, and I did so at a moment in time (post-November 8th) when sexists have been given a renewed license to roam and offend, and when women are marginalized and rightly enraged at this inequity of power. I didn’t think before I tweeted. But since then, I’ve discussed this with a lot of people, and it’s given me an opportunity to think and to get some genuine insight into how others – on both sides of the equation – think, and what goes into that thinking.

There have been some tough realizations, not the least of which involves confronting the fact that I didn’t know better. It never occurred to me that I might be part of this systemic patriarchy problem. I’ve always considered myself an egalitarian, one of the good guys who could be depended upon to know and to do the right thing – “doing the right thing,” even if swims against the tide I’m in, is how I was raised and how I’m trying to raise my own son. But in this instance I instead became “one of the good ol’ boys”.

I realize that talk is cheap, and apologies are just words, meaningless unless backed up by action. My challenge is not just to pledge to never let something like this happen again and to set a good example — for my son, my male peers, the readers, and more. It’s also to teach myself to recognize this toxic patriarchal mindset when I see it; to actively challenge it and call folks out on it rather than just coast along and accept it as “the way things are”; and to provide my unconditional support for everyone who find themselves being… I’m not quite sure what word I’m reaching for here… hurt, offended, repressed, patronized, abused, maybe? Those all work, somewhat, but I need to find a term more holistic and all-encompassing. My inability to express it properly here tells me that there’s a lot of growing up that’s gotta happen first. It’s the duty of those of us who are privileged to remove our own blinders.

I’ve spent a lot of time this week listening to the criticism I received for my poorly chosen words, and as I said, talking to friends about what lessons I can learn, and contemplating how to do better, and I want to share two observations in particular that struck a nerve.

The other day, after a lengthy exchange with a friend about all this, I was in my car while listening to a weekend repeat of “Fresh Air” on NPR. Terry Gross’ guest this episode was female lexicographer Kory Stamper and she was talking about the immense power of words, both positive and negative. What timing. This hit home, and hard. I’m a writer, I’m supposed to know that. I thought I did know that. But my actions had just proven otherwise. That’s a personal standard that I let fall by the wayside. In the future I will keep reminding myself of the importance of choosing my words carefully, and appropriately for the context — not to mention knowing when not to say anything in the first place.

Secondly, this past week I have also reflected a great deal on the recent Women’s March and the feelings of pride and inspiration the resistance it launched has evoked in me. The Women’s March stirred up the same passions that I felt decades ago as a young man attending Vietnam War protests. I was empowered and righteous fighting for change, fighting to make my voice heard, fighting to stand up for what’s right. I’m still committed to standing up for what’s right and I want to be the change, as they say.

There is a new intersectional resistance movement taking place in our culture right now, led by women, POC, and those less privileged than me. They insist on being heard and they are righteous. Once again, I’m reminded of what it felt like, during the Vietnam era, to be part of a resistance movement. Moving forward, I want to do my part amplify their voices rather than echo the sexist tropes of times past. I’m going to think before I speak. Sometimes I’m just going to listen instead of speaking.

I am on the side of equality and progress, but the devil is in the details. It’s one thing to believe these things; it’s altogether another thing to execute them in my daily interactions, to monitor what I say and do and not perpetuate or feed the mindset discussed above.

I might not always get it right, but systemic change starts with individual change – that’s a notion that my parents also instilled in me that I intend to pass on to the next generation. I intend to pull my weight, do my part to make things improve, and not just sit on the sidelines silently cheering the resistance on (another trap that, having blinders on, is very easy to fall into). To any of the men who read this, I’m sharing all the foregoing not simply to apologize, but to encourage you to do the same – I invite them to join me.

Fred Mills is the editor of BLURT magazine and Blurtonline.com.

Michael Toland: Rockin’ Is Ma Business Pt. 3

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And business is good, whether your thing is punk, power pop, garage rock, rockabilly, glam, action rock, and their various spinoffs and offshoots. Our guarantee to you: no Nickelback allowed. Go HERE to read Dr. Denim’s first installment of the series, and HERE for Pt. 2. Above: No, that’s not the Runaways ya dummy – it’s Heavy Tiger, gettin’ ready for some heavy pettin’. (FYI: links to key audio and video tracks follow the main text.)

BY MICHAEL “DENIM” TOLAND

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Wyldlife smartly has a boot in two camps. Based in NYC, the band has a firm grounding in the glammy proto punk and roughhewn power pop that emanated from its city back in the ‘70s. When it came time to record its second full-length, however, the group decamped to Atlanta, home of rising pop & roll saviors Biters and their brethren, and the joie de vivre of recording in a sympathetic environment certainly makes its impression. Out On Your Block (Wicked Cool) doesn’t so much veer from one stylistic variation to another so much as cram them together, powering the singalong choruses of “Keepsake” and “Bandita” with the reckless energy of a Mercer Arts Center freakout. The band zooms through the tracks like its members mistook amphetamines for sugar pills in their morning coffee, but never sound out of control – tight but loose in the grand rock & roll tradition. Sounding for all the world like a mind meld of the New York Dolls and the Plimsouls, Out On Your Block reeks with the pure joy of taking smartly crafted tunes and making a big-ass racket.

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Seattle’s Cheap Cassettes apply similar makeup to their boyish faces on their debut LP All Anxious, All the Time (Rum Bar). As leader of the long-gone Dimestore Haloes, frontguy Charles Matthews has a long history of banging out tuneful constructions with bullshit-free flair, and he continues his good work on pleasure-button mashing popsters “Get Low,” “Big Dumb Town” and “My Little Twin.” Maine-to-Spain transplant Kurt Baker adds a bit of Detroit power and L.A. flash to a similar recipe on Shot Through the Heart(Rum Bar), the first full-length from Bullet Proof Lovers. That doesn’t mean power pop hero Baker (joined here by various Spanish r’n’r luminaries) has suddenly gone hard ‘n’ heavy, but it does give “On Overdrive” and “Heart of Stone” a fist-pumping, lighter-waving rush and “All I Want” and “Take It or Leave It” a punky, street rock attack. Unusually for bands like this, the second half of the record is actually stronger than the first.

Heavy Tiger - Glitter - Artwork

With a sly grin and blazing attack, power trio Heavy Tiger blasts out of Stockholm with Glitter (Wild Kingdom). The colorful hooks of ‘70s glam rock entwine with the no-nonsense charge of mid-’70s hard rock, before being violated by late ‘70s punk. Riding Maja Linn’s gritty vocals (not unlike Muffs’ leader Kim Shattuck’s) as much as the big-ass guitars, “I Go For the Cheap Ones” and “Feline Feeling” deliver an irresistible opening one-two punch. But the band keeps the hits a-comin’, whether it’s more burning rockers like “Keeper of the Flame,” rousing glam rock like “Devil May Care” (written for the band by the Ark’s Ola Soma) or loud power pop a la “Starshaped Badge and Gun Shy.” The glitter in the album’s title dusts denim vests and ripped jeans.

ENUFF ZNUFF cl COVER HI

Back in the bad old days of the late ‘80s, glammed-up quartet Enuff Z’nuff got shoved into the hair metal ghetto, which might’ve been fine had the band gotten the same hits and success as its West Coast peers. (Indeed, it’s an association the band has never shunned.) Unlike its mousse-abused pals, though, the Chicago band fell more heavily on the Cheap Trick and Sweet side of the pop metal street than on the Aerosmith/Starz side. Clowns Lounge (Frontiers) has a few squealing guitar solos, but otherwise leans on vocal harmonies, glittery melodies and big power pop hooks. “Rockabye Dreamland” resembles Jellyfish more than Def Leppard, while “Back in Time” and “Radio” sound more like homeboys Urge Overkill than Aerosmith. It hearkens back to the band’s first couple of albums, which is no surprise, given that it consists of songs reworked from the days before EZ’s 1989 debut LP. That means most of the songs feature original vocalist Donnie Vie, which will set OG fans’ rods a-twirl. Then there’s “The Devil of Shakespeare,” which features, as guests, late Warrant singer Jani Lane, Styx guitarist James Young and – as a ringer? – 20/20 co-leader Ron Flynt. Go figure.

Connectioncover

Covers collections usually denote a lack of new material on an artist’s part, regardless of the official line. That said, the Connection has been awfully prolific the past few years and can be forgiven if the urge to hit the studio overtook the effort to write new songs. On Just For Fun! (Rum Bar), the Boston boppers bash through a batch of obvious influences (the Dictators’ “Stay With Me,” Cheap Trick’s “Southern Girls,” Gary Lewis & the Playboys’ “I Can Read Between the Lines,” Dave Edmunds’ “Other Guys Girls”) and left-fielders (George Thorogood’s “Get a Haircut,” the Rolling Stones’ “No Expectations,” Bob Seger’s “Get Out of Denver,” “Streets of Baltimore,” the Harlan Howard song recorded by Bobby Bare and Gram Parsons). The band’s reverence for pre-21st century pop reaches its effervescent apex on a faithfully executed take on Syl Sylvain’s timeless “Teenage News,” its ‘billy and bubblegum delirium right in the Connection’s wheelhouse. A stone hoot, Just For Fun! lives up to its title.

JigsawSeenftDC_CD_COVER_3000

The Jigsaw Seen draw from many of the same ‘60s and ‘70s touchstones as the Connection, though they’re filtered through such a personal vision that the L.A. act has always sounded unmoored from time itself. That applies even to For the Discriminating Completist (Burger), a collection of singles, EP tracks and alternate mixes of tunes from across the band’s nearly 30-year career. Echoes of the Who, the Creation, the Kinks and the Move resound, but on “Jim is the Devil,” “My Name is Tom” and “Celebrity Interview,” the Seen always sounds most like itself. That applies even to covers of the Bee Gees, Love, Henry Mancini and the Frank Sinatra/Tony Bennett standard “The Best is Yet to Come.”

Stoneage Hearts

The Stoneage Hearts take many of those same influences and beat them with a Nuggets stick, as found on Turn On With (Off the Hip), a reissue of the band’s 2002 debut. The Australian trio’s sugar ‘n’ spice mix of grinning power pop and rough-hewn R&B-flavored garage rock cuts any hint of crap in order to get down to the business of hooks, harmonies and tunes as good as “So Glad (That You’re Gone)” and “Stranded On a Dateless Night.”

LittleMurderscover

Australia’s Little Murders have prowled the Melbourne underground for nearly 30 years in various incarnations. The product of the longest-lived version, Hi-Fab! (Off the Hip) distills the quintet’s virtues – simple melodies, ragged harmonies, a nice mix of jangle and crunch – in 33 minutes of power pop rush. Still led by plainspoken singer/songwriter Rob Griffiths, the Murders sound comfortable and confident on the sprightly “She’s the Real Thing,” sweet “Merry Go Round” and driving “Out of Time.”

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Perth’s Manikins predated Little Murders, evolving out of the Cheap Nasties, one of Australia’s first punk outfits. (The Nasties also gave us international treasure Kim Salmon of the Scientists, Beasts of Bourbon and Surrealists fame.) From Broadway to Blazes (Manufactured Recordings) collects the band’s entire oeuvre, from demos to singles to self-released cassettes, on two slabs of vinyl, and it’s ninety minutes of power pop perfection. The quartet deftly beats the hell out of melodic sweetness like Bruce Lee fighting a cheerleader, making the winsome “Love at Second Sight” (in two versions), the raw “Street Treat,” the brittle “Losing Touch” and the blazing “Girl Friday” sharp lessons in how to do it right. Melbourne’s Baudelaires keep the Australian garage rock wave flowing with Musk Hill (Off the Hip), a psychedelicized take on three chords and a bunch of youthful angst. Alternating thumping rockers like “Scrapbooker” and “Foxglove” with trippier concoctions like “Whet Denim” and “Snapper Steve” (not to mention a quick dip into the surf music pool with “Life’s Too Short For Longboards”), the young quartet puts the roll back in psych rock.

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Manufactured has also taken it upon itself to rescue a couple more early power pop outfits from obscurity. Smart Remarks may have been the house band at the infamous City Gardens in the early ‘80s, but that was as far as the trio’s notoriety ever got. Too bad – the single and EP sides collected on Foreign Fields: 1982-1984 (Manufactured Recordings) are a delight for fans of the form. The band’s new wavey guitar pop reaches catchy potency on the sparkling “Falling Apart (As It Seems)” and “Mary’s Got Her Eye On Me.” New Jersey’s Modulators hail from the same time period, but let ‘60s/’70s roots like the Hollies and the Raspberries show through any new wave colorization on Tomorrow’s Coming (Manufactured Recordings). That 1984 platter was the trio’s sole LP, but here it’s augmented with a ton of demos, singles and unreleased tracks to grow into a 28-track monster of jangly pop glory.

Muffs HBtM

The Muffs’ first two albums are masterclasses on melodipunk, and, while not the runaway successes so many of their peers’ records were, still put the L.A. trio on the map. So what happened with Happy Birthday to Me (Omnivore), the band’s third album? Creatively, nothing – the record is, cut for cut, the Muffs’ strongest, a consistently catchy, beautifully recorded and enthusiastically performed set that should have been the apex of the band’s upward arc. Alas, its then-record company Reprise decided to put their resources elsewhere, and the Muffs were dropped right as the album came out. (Despite this, it has never fallen out of print.) Fortunately, it’s back, all the better to enjoy the spice cake rush of “That Awful Man,” “Outer Space” and “Honeymoon,” the winsome midtempo power pop of “The Best Time Around,” “Keep Holding Me” and “Upside Down,” the 6/8 mania of “All Blue Baby,” the raging snot rock of “Nothing” and the snide country rock (?!) of “Pennywhore.” Plus a rare cover of the Amps’ “Pacer,” a batch of demos and the bandmembers’ informative and entertaining liner notes, including leader Kim Shattuck’s song-by-song commentary.

JHoylesCRLP035_Cover_3000pix

British guitarist John Hoyles has, to generally excellent results, toiled in the fields of Swedish rock, slinging strings for prog/doom outfit Witchcraft, boogieing spinoff Troubled Horse and glam/power rockers Spiders. For his solo LP Night Flight (Crusher), however, takes more inspiration from punk and pub rock, with no-nonsense songs and maximum production clarity. Outside of the acid folk of “In the Garden” and overtly psychedelic title track, tunes like “Talking About You,” “Before I Leave” and “Minefield” rock righteously and unselfconsciously. Bonus: a cover of former Pink Fairies guitarist Larry Wallis’ “Police Car” that makes Hoyles’ self-professed love of Stiff Records pretty blatant.

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Mark “Porkchop” Holder did time in both blues punk act Black Diamond Heavies (of which he was a founding member) and in the arms of addiction. Free of both, the singer/slide guitarist returns to his hometown of Chattanooga, TN, for Let It Slide (Alive Naturalsound), a set of rocking blues that could only come from someone who’s lived a life on the underside. As such Holder wastes no time with virtuosity or fancy production – he and his rhythm section just crank it up and get down to business with a clearly articulated focus a lot of cracker blues slingers could use. Holder’s lack of illusions about where he’s been and how he got there power the snarling choogle of “Disappearing” and menacing country rock of “Stranger” as much as his raw bottleneck work, and his plainspoken vocals sell every syllable. Rough-and-tumble rambles through “Stagger Lee” and “Baby Please Don’t Go” also prove Holder knows how irreverently to treat a couple of pieces of well-traveled (read: overused) classics without losing touch with their essential spirit. “I’ve got no one but myself to blame!” he shouts during the titanic “My Black Name,” the song most likely to be his “Jumping Jack Flash.” That lack of sentimentality gives Let It Slide the conviction to put it in a different category than the usual flash blues slop.

Evil Twin

Australia’s Evil Twin also uses the blues as a jumping off point on its debut Broken Blues (Off the Hip). No revivalists, this pair – nor do they pay homage, unintentional or not, to the White Stripes or the Black Keys. Instead guitarist Jared Mattern and drummer Chris Beechey blast off from the music’s 12-bar origins into loud, grungy rock that’s beholden more to bands Dan Auerbach and Jack White don’t listen to – nothing sounds like Zeppelin, in other words. Led more by Mattern’s measured singing than overwhelming instrumental bombast, dirty slide pound like “Look Into My Mind” and the title track, snarling boogie like “Motor City” and soulful power balladry (!) like “Slow Dance” sound fresh and exciting, the way new classic rock should.

POWER LP Jacket

Evil Twin’s country band Power might also argue that the blues is at the heart of its sound, but it’s difficult to tell under the punky crust and general mania on its debut Electric Glitter Boogie (In the Red, though originally released in Australia in 2015; the In The Red LP comes pressed on either red or black vinyl). A deliberate nod to Australia’s legendary hard rock acts Coloured Balls and the Aztecs (names not very familiar to Statesiders, though they might know Aztec leader Billy Thorpe’s later AOR hit “Children of the Sun”), the trio goes over the top with raging riffs, gonzo vocals and an air of barely-contained madness. These boys want to rawk, and when they fire up the wild-eyed boogiepunk of “Slimy’s Chains,” the title track or the band’s eponymous anthem, get with it or get the hell out of the way.

HeathGreencover

Hailing from Birmingham, Alabama, Heath Green and the Makeshifters holler back to an earlier era, one when British bands like Humble Pie took soul music into harder rock realms than it was logically prepared for. Luckily, the quartet proves itself far less leadfooted than its predecessors on its self-titled debut LP (Alive Naturalsound). Without throwing any accusations of “authenticity” around, it really seems like coming from the American South gives Green a more natural feel for R&B, gospel and the blues, allowing him to fold his pan-seared shout into the Makeshifters’ hard-rocking crash without having to scream to be heard. The fierce pound of “Living On the Good Side,” chunky shuffle of “Secret Sisters” and sanctified soul of “Ain’t Got God” get the balance between tank and testify just right.

TomBakercover

Tom Baker and the Snakes have been one of Boston’s best-kept secrets for a few years now, but with Lookout Tower (Rum Bar), the quintet makes a national splash. Marrying the plainspoken songcraft of heartland rock, the high voltage power of the Motor City and the ramshackle grace of a party-all-night bar band, the Snakes bash out catchy tunes like “High n’ Tight,” “Make It Hurt” and “Needle in the Red” like the Replacements if they’d listened to more classic rock than punk. Three guitars keep the riffs, hooks and jangles churning, and Baker’s ragged-but-oh-so-right voice delivers the exact dose of vulnerable swagger. If you like your rock & roll to worry less about subgenres and more about just getting to the good stuff, Tom Baker is yer man, man.

Tek-Williamsoncover

The combination of Detroit rock royalty Deniz Tek (Radio Birdman, the Visitors, his various solo bands) and James Williamson (the Stooges, of course) is so fraught with potential it would be almost impossible for it to live up to expectations. On its debut EP Acoustic K.O. (Leopard Lady), the pair neatly sidesteps the ambitions thrust upon them by delivering an acoustic EP of tunes associated with Williamson’s time with Iggy Pop. Tek’s gruff plainspokenness gives “I Need Somebody” and “Penetration” a note of gravitas, and the duo’s take on “No Sense of Crime” pulls out an obscurity that’s right in their wheelhouse. Oddly, though, the highlight is the Tek-less instrumental “Night Theme,” a mothballed tune that scans like the soundtrack to a crime-and-punishment TV show.

***

Check out selected audio and video from the records discussed above:

 

Tom Baker & the Snakes – Lookout Tower Bandcamp:

https://rumbarrecords.bandcamp.com/album/lookout-tower

 

The Baudelaires – Musk Hill Bandcamp:

https://thebaudelaires.bandcamp.com/album/musk-hill

 

Bullet Proof Lovers – Shot Through the Heart Bandcamp:

https://bulletprooflovers.bandcamp.com/album/shot-through-the-heart

 

The Cheap Cassettes – All Anxious, All the Time Bandcamp:

https://rumbarrecords.bandcamp.com/album/all-anxious-all-the-time

 

The Connection – Just For Fun:

https://rumbarrecords.bandcamp.com/album/just-for-fun

 

Enuff Z’Nuff – “Dog On a Bone”:

https://www.youtube.com/watch?v=wEQr0axc4lI

 

Evil Twin – Broken Blues Bandcamp:

https://eviltwinrock.bandcamp.com/album/broken-blues

 

Heath Green and the Makeshifters – “Ain’t It a Shame”:

https://www.youtube.com/watch?v=Vo2CELBHB4s

 

Mark Porkchop Holder – “My Black Name”:

https://www.youtube.com/watch?v=YS6miti9XHA

 

John Hoyles – “Talking About You”:

https://www.youtube.com/watch?v=1_d6jcpFoRk

 

The Jigsaw Seen – “Jim is the Devil”:

https://soundcloud.com/burgerrecords/the-jigsaw-seen-jim-is-the-devil-single-version

 

Little Murders – Hi-Fab! Bandcamp:

https://littlemurders.bandcamp.com/album/hi-fab

 

The Manikins – From Broadway to Blazes Bandcamp:

https://manikinsaustralia.bandcamp.com/album/from-broadway-to-blazes

 

The Modulators – Tomorrow’s Coming Bandcamp:

https://themodulators.bandcamp.com/

 

The Muffs – “Outer Space” (live):

https://www.youtube.com/watch?v=JY1vwFdKq5I

 

Power – “Electric Glitter Boogie”:

https://soundcloud.com/powower/electric-glitter-boogie-1

 

Smart Remarks – Foreign Fields: 1982-1984 Bandcamp:

https://smartremarks.bandcamp.com/

 

Deniz Tek & James Williamson – “Penetration”:

https://soundcloud.com/pavement-pr/penetration

 

Wyldlife – “Contraband”:

https://www.youtube.com/watch?v=V4T9BgwCdxU