Category: Reviews

Rewind Review: Iguana Death Cult – Echo Palace (2022)

Hailing from The Netherlands, Iguana Death Cult both blend and defy genres on their 2022 album Echo Palace.

Opening with funky post-punk on “Paper Straws,” IDC instantly reminded me of !!! with their quirky dance grooves and solid bass lines from Justin Boer. The title track brought some of Parquet Courts‘ groovier stuff to mind, and Tobias Opschoor‘s frenetic guitar riffs on it are great.

“Pushermen” is a good example of the band clicking together in the studio, as they wrote it in about an hour. It seems to be a song about escaping the constraints of the urban grind (“Living in a box of concrete, how do you keep occupied?…Maybe I’ll take you anywhere. Don’t believe the hype. Maybe I’ll take you anywhere. Freedom’s in the mind.”).

“Sunny Side Up” is a quirky garage rock track, not unlike early Devo, about how trying to make it through a typical day of work and the “superficial spectacle.” (“I’d give you all of my money if I could borrow some time.”). Benjamin Herman‘s guest saxophone solo on “Sensory Overload” is outstanding. “Conference to Conference” once again tackles the banality of the corporate life.

“I Just Want a House” is a great post-punk track with great back-and-forth vocals between Jeroen Reek and his bandmates as they pine for a simpler life away from the hustle and bustle (“I’ll admit I’m confused on how we even got here. Just want a house where I can lay back.”). “Oh No” is like a lit fuse racing toward a pound of dynamite. Boer’s bass borders on panic, and Reek blasts out trombone honks to inspire more wild dancing in the clubs.

“Rope a Dope” is a good example of Arjen van Opstal‘s “sounds easy but is deceptively difficult for others to place” drumming ability and the keen and subtle use of Jimmy de Kok‘s synthesizers. You realize that a lot of the tracks on Echo Palace wouldn’t sound right without them.

van Opstal’s hi-hat work is on-point on “Heaven in Disorder,” and I love the slight echo effect on Opschoor’s guitar in it – and the neat sense of menace in the last quarter of the song. The album ends with the garage / new wave (How did they mix those genres so well?) rocker “Radio Brainwave.” It’s a great way to wrap up the record.

I discovered IDC when I saw them open for Osees last October. They won over the crowd right away, and I’m keen to see where they go next.

Keep your mind open.

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Review: Lonnie Holley – Tonky

Lonnie Holley is singer, songwriter, artist, educator, and poet…and, surprisingly to me, a trip hop artist. I knew that his new album, Tonky (named after his nickname from growing up in and around honkytonks), would be full of gripping tales from his life and views on the current American landscape. I didn’t expect it to be layered with found sounds, electric beats, and trip hop touches.

The opening track, “Seeds,” is the longest at over nine minutes and has Holly telling about how fields he worked as a child until he was exhausted or often beaten so bad he couldn’t sleep. The string instruments strum out growing tension while simple synth chords are like the hums of spectres watching from the other side of the veil. “Life” is a short poem of hope with Holley encouraging us to use small actions to grow big change.

“Protest with Love” is the most punk rock song I’ve heard in a long while, and it’s wrapped in a lush trip hop track. “If you’re gonna protest, protest with love…Let love do its thing,” Holly advises. Loving thy neighbor, heck, just being nice, is one of the most rebellious acts you can do in 2025. In the jazz and post-funk (Is that a thing?)-inspired “The Burden,” Holley tells us all that it’s on us to remember those who came before and how we need to honor them (“The burden is like a spell that’s been cast upon you. Burdens of our ancestors to unravel and clarify in history.”).

“Let those who have ears, let them hear…We might not have it all together, but together we have it all,” Holley preaches in the beginning of “The Stars” — a powerful track about how people brought over on slave ships saw the same stars we now see, but how much have we progressed since then? The included rap by Open Mike Eagle is so slick it might drop you to the floor.

Holley makes sure you’re paying attention on the growling (and slightly funky) “We Were Kings in the Jungle, Slaves in the Field.” “Strength of a Song” has some of Holley’s strongest vocals on the record as he sings about finding hope and power in music. Near-industrial drums make “What’s Going On” sound like a roaring muscle car engine. “I Looked Over My Shoulder” is psychedelic jazz mixed with dark-wave synths.

“Wait a minute…” Holley says at the beginning of “Did I Do Enough?” Good heavens, haven’t we all thought that at some point — especially if you’ve been through a tragedy, or someone close to you has? The song is just Holley’s heartfelt vocals above ambient synths that build to gospel-like grandeur and it’s a stunner. “That’s Not Art, That’s Not Music” has Holley firing back the criticisms aimed at black music and culture upon their detractors.

The album ends with the hopeful “A Change Is Gonna Come,” but Holley asks, “Are we ready for something to happen?” One has to recognize the signs, when to stand up, and when to take flight. We have to be willing to accept change from divisiveness to inclusion. “How can I love God without loving you?” a woman asks not only herself, but also all of us. It’s the main message Holley wants to convey, and one we all must hear.

This is already one of the best albums of the year.

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]

Rewind Review: The Jesus and Mary Chain – Honey’s Dead (2009 reissue)

The Jesus and Mary Chain came out swinging on their 1992 album (their fourth) Honey’s Dead. First, the title refers to their hit “Just Like Honey” and how they’ve decided to move on from it, so get on the train or get off the tracks. Then, the first line of the opening track, “Reverence,” is “I wanna die just like Jesus Christ.” The song was banned across many BBC airwaves for that lyric (along with “I wanna die like JFK.”) and its repeated apparent references to suicide – which were actually about letting go of relationships and the ego.

There’s no hidden meaning behind “Teenage Lust.” It is what’s advertised. William Reid‘s guitars sound like they’re being banged around in a tool & dye plant. “Far Gone and Out” is still one of JAMC’s biggest hits, and it has Jim Reid singing about a woman he wants to teach a lesson (“No one works so hard just to make me feel so bad.”).

His brother, William, on the other hand, has much better things to say about the subject of “Almost Gold” – a woman who was the closest he’d come to perfection by that point in his life. HIs guitars on “Sugar Ray” roar and growl like angry wasps as he tries to tell a woman that he’s not like “All those boys [who] have fun with toys. All I want is you.”

“Tumbledown” has Jim Reid dealing with the fallout of another lover who’s nothing but trouble, while Steve Monti, bringing a nice return of live drumming to the band, knocks out frantic beats. “Catchfire” is a standout if you love some psychedelia mixed with your shoegaze. The title might be a drug reference. After all, the album was recorded in their studio they’d named the “Drugstore.”

Jim Reid finally finds Mrs. Right (Now?) on “Good for My Soul” – a downright lovely shoegaze song giving praise to a woman who “Ever since she came I’ve been whole, believe me.” “Rollercoaster” is an early 1990s rock gem with William Reid trying to forgive his past after others have already done so (and Monti nails some killer beats in the meantime). On “I Can’t Get Enough,” he sings “Honey, you’re so cool” to a woman, but you really don’t believe him. His brother’s guitar work highlights his snarky frustration.

By the time we get to “Sundown,” William Reid is ready to give up. “The planet poisoned me. It’s a sick place to be. I’ve got a taste for it. Now I’ve gotta leave.” “Frequency” is the sibling to “Reverence,” which much the same lyrics but with William Reid on vocals and extra guitar crunch and shredding sprinkled on top.

Honey’s Dead was (and still is) a good record, and a second launching point for the band to explore more options and sounds. Don’t skip it.

Keep your mind open.

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Review: Takuya Kuroda – EVERYDAY

“Jazz-funk” is a term that’s a bit overused, but it’s a perfect description for trumpeter Takuya Kuroda‘s impressive new album, EVERYDAY. Kuroda takes joy in blending and playing with multiple styles of music, and his commitment to practice and make music every day inspired the album’s title.

The title track blends hip hop drumming from David Frazier and funky keys from Takahiro Izumikawa. “Bad Bye” (with guest vocals from FIJA) is fun and funky and could’ve been a Thievery Corporation track in another timeline. “Car 16 15 A” absolutely sizzles for five straight minutes, even in the mellow bits.

“Must Have Known” slows things down, with Kuroda’s trumpet stepping back just a bit to let Corey King‘s vocals take front stage. “Off to Space” might well take you there. It’s almost a prog-rock track at points (i.e., Frazier’s drumming) and cool lounge jazz in others (i.e., Martha Kato‘s Rhodes organ). Kuroda trades hot solos with saxophonist Craig Hill on “Iron Giraffe.”

I’m not sure if the title of the snappy “Hung Up on My Baby” means Kuroda is hung up (wistful for) on his lover or if he cut a phone call short with them. I think it’s the former. The album ends with the cool-as-a-cat “Curiosity.” Everyone seems to get a chance to shine on it, especially Izumikawa on his piano solo.

It’s another slick record for Kuroda, who is quickly becoming one of my “Have you heard this guy?” recommendations for anyone who even gives me a hint that they enjoy jazz.

Keep your mind open.

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[Thanks to Gabriel at Clandestine Label Services!]

Review: The Death Wheelers – The Ecstasy of Möld

First, I need to give The Death Wheelers a thumbs-up for the Ennio Morricone joke with titling their new album The Ecstasy of Möld. The Death Wheelers are big fans of cult films and cinema in general, and the riff on Morricone’s classic “The Ecstasy of Gold” from The Good, the Bad, and the Ugly is brilliant.

As is the album. Opening with the short but heavy “Loud Pipes Take Lives,” and a man declaring he’ll purify the world with blood, the album lets you know right away that this is going to be a wild ride. Need further evidence? Well, the thrash metal banger “Homicycle Maniac” (which my computer’s autocorrect wants to write as “Hemicycle Maniac,” which works just as well) will convince you. “Hella Hammered” continues the thrash metal shredding, proclaiming that the motorcycle gang of the band’s moniker are a “bunch of real psychopaths.”

“Un Pneu Dans La Tombe — Aide Musicale À Mourir” dips a bit into psychedelia before it turns into a riff-raging rocker. The title track claims “There is only one ecstasy…Death!” and then launches into pounding punk rock. “Blood, Bikes and Barbiturates” has more heavy cymbal crashes than I could count.

“Bleu Nuit (Les Plaisirs De La Chair)” is one of the trippiest tracks on the record as the band goes looking for pleasures “more primitive” than what you’d find in a strip club. The groove on it is top-notch. The distortion and reverb are cranked on “Way of the Road” for you and your neighbor’s enjoyment (and don’t miss the salute to Led Zeppelin in it).

“The Heretic Rites of Count Choppula,” apart from having a great title, adds touches of horror-surf rock to the album that show another side of The Death Wheelers you didn’t expect at first, but think, “Oh yeah, that tracks.” when you hear it. Finally, “Get Laid…to Rest” ends the album on a Pink Floyd-like mind trip to give your brain a chance to reset after all the chaos you just heard.

It’s another fine instrumental rocket blast from The Death Wheelers. Get in on this roadtrip or get the hell out of the way.

Keep your mind open.

[I might reach ecstasy if you finally subscribe today.]

[Thanks to Daniel at RidingEasy Records.]

Review: Lust for Youth & Croatian Amor – All Worlds

Lust for Youth & Croatian Amor looked to the stars for inspiration on their new album, All Worlds. Specifically, they focused on the idea of the “Golden Record” set into outer space by NASA in 1977 to greet anyone who might find it. They wanted to create a portrait of a world in where each song evoked a sense of place and time.

Starting with “Friendzone,” the album gets off to a trancey-dancey start with arpeggiating synths and thumping bass. A lot of the songs on All Worlds are about belonging and the quest to find community and kinship. “Friendzone” is a wake-up call for those put in it. The smart ones accept the assignment. “Passerine,” with guest vocals from Emma Acs, adds shoegaze guitars to snappy electric beats as Acs sings about being disconnected to the world around us.

“Dummy” reminds us that “It’s all right. These hearts were built to fight.” It’s an uplifting track. “Everything changes,” they say. Things can turn around if you give them the chance. “Akkadian” reminds me of early Orbital tracks with its vocal loops, trip-hop beats, and clockwork synth riffs.

“Lights in the Center” adds Alan Watts Zen philosophy to soft synthwave. A woman claims, “I don’t know where I went.” at the beginning of “Kokiri.” She might’ve gone to the dance floor, judging from the great house beats in it. “Nowhere” feels like a cat stretching in the sunlight beaming in from a living room window as it dreams of strolling through a park as busy humans run to and fro.

“Fleece” would be a good song to play while drifting along the Voyager spacecraft carrying the Golden Record, because it feels like zero gravity under your feet. “Velella Velella Wind Sailors” is minimalist techno as a woman speaks about animals washed up on a beach and schools of jellyfish that resemble blue coral. Closing with “Still Here,” the song reminds us that we can persevere. We can survive. We can thrive.

It’s a neat experiment by a cool team. Each track has its own pulse. They paint several pictures for you. It’s easy to get lost in them. Go ahead and try it.

Keep your mind open.

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[Thanks to Kate at Sacred Bones Records!]

Rewind Review: Vuelveteloca – Sonora (2017)

I discovered Vuelveteloca at the 2017 Levitation Music Festival where they played a great show at the now long-gone Barracuda club. I hadn’t heard them before then, but their Chilean version of metal, psych, krautrock, and stoner metal was something to behold. I snagged their Sonora album from their merch table…and it got lost in a stack of CDs in my office for years. It’s a shame I’m finally getting around to reviewing it eight years later, because it’s a slick record.

First, you should know that the band’s name translates as “Go crazy.” in English. That lets you know what you’re in for with this record. It’s a fitting name.

The album’s title translates as “Sonorous” – which implies something deep and powerful. Opening track, “La Niebla” (“The Fog”), stomps the gas pedal to the floor and charges through the titular weather with reckless abandon. The brief moment of coasting (around the 3:30 mark) lets you feel the wind on your face for a bit before the guitars from Marcos De Iruarrizaga and Tomás Olivos come back to melt it.

“Alta Montaña” (“High Mountain”) displays their love of stoner metal and cosmic rock, as Juan Gili hammers out mantra-like beats to induce rhythmic head-nodding. “Ataque Masivo” isn’t necessarily a tribute to the band “Massive Attack,” but I wouldn’t be surprised if Massive Attack were an influence on them. The track has krautrock leanings, but also synth touches that lean it a bit in Massive Attack’s direction.

The fuzz returns in full force on “Carnaval,” sending us on a trippy journey down streets full of masked people who might have dark intentions. “L.A.” slows things down into 1960s psych-rock. It’s a neat change in tone from the heavy stuff that’s come before it as the song builds in power and volume. “El Lado Frio” (“The Cold Side”) takes that power and volume and uses it to cause your brain to swirl in your skull.

“Tormento” (“Torment”) is a song you’ll want to blast while competing in a demolition derby. “Chepical” dives back into krautrock, but adds soaring cosmic rock guitars to the mix. Ending with the interestingly titled “Cientologia & Altiplano” (“Scientology & Plateau”), the album uses Jose Navarrete‘s bass grooves to maximum effect and creates a great jam track with limited vocals and maximum head-trip riffs.

It’s a wild record, and one I slept on for too long. Don’t do the same.

Keep your mind open.

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Rewind Review: The Jesus and Mary Chain – Automatic (2009 reissue)

The Jesus and Mary Chain‘s 1989 album (their third), Automatic, is the second one to be made by the Reid brothers, William and and Jim, with backing from a drum machine and synth-bass. Some fans derided this back in the day, but the album is now considered another classic from them.

Opening track “Here Comes Alice” is a full-out rock ode to a hot lady on a hot summer day. “Coast to Coast” is another sizzler and perfect for fast driving down long highways (“I got a cat-scratch engine, takes me on the road. Wheels get back rolling to the world I know. Take me just as far as I can go.”). The guitars on this are great – roaring one moment and squealing the next.

“Blues from a Gun” is one of TJAMC’s biggest hits, even reaching the top spot on the U.S. “Modern Rock” charts back in 1989. It’s about someone misreading a situation that they think is romantic but is strictly platonic (“If you’re talking for real, then go cut a deal. You’re facing up to living out the way that you feel.”). It’s no surprise it was a big hit, because it hits all the right notes. The chugging guitars and sharp but simple electric drum beats perfectly mix together.

“Between Planets,” a song about a woman who might be schizophrenic, is so catchy it could’ve been the theme to an MTV show in the late 1980s. The programmed drums are heavy on “UV Ray,” and the machine-like guitar riffs (mixed with a bit of surf!), give the song a bit of an industrial dance club feel. “Her Way of Praying” has Jim Reid singing about a woman who drives him crazy with her “hip dippin’ trick of all time done right.”

“Head On” was so popular that Pixies went on to cover it on their Trompe Le Monde album. It’s easy to see why it was an influence on them: Quieter verses mixed with loud choruses and louder guitars. “Take It” is about giving yourself to a lover and not worrying about anything else.

“Catch me ’cause I’m falling apart,” Jim Reid sings on “Halfway to Crazy” – a song about, you guessed it, going mad in a world that’s even crazier than you are. “Gimme Hell” is appropriately heavy as Jim Reid sings / growls about a cantankerous relationship that threatens to singe both parties. The drug reference of “Drop” is hard to miss, as William Reid sings about seeking solace after a breakup (“I should have guessed when I took that pill. Do I love her still?”). The album ends with the drum-heavy instrumental “Sunray.”

It would be interesting to hear these tracks with live drums and bass, but they’re all good and all influenced generations of musicians.

Keep your mind open.

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Review: Bonnie Trash – Mourning You

The thing about grief is that it comes on hard and unrelenting in the first few months, or even the first year. After that, you learn to live with it, to work with it, to manage it, but you never know when it will come out of nowhere and flatten you.

Bonnie Trash do a deep dive into grief, and looming spectre of death, on their new full-length album, Mourning You. Opening, after an instrumental intro to set the creepy mood, with “Veil of Greed,” lead singer Sarafina Bortolon-Vettor admits that she’s helpless before such a powerful force (“I bow down before you, and I know you feed.”) while twin sister Emmalia knocks out industrial-meets-doom riffs.

“My Love Remains the Same (Kisses Goodbye)” is beautiful. It could be a Psychedelic Furs track in another dimension somewhere. Emma Howarth-Withers‘ bass line locks in the whole track while Sarafina says final goodbyes to a loved one…or at least tries to do so (“My love remains the same, and I won’t let you go.’). The song is surprisingly upbeat and primed for radio play by somewhat subversive DJs looking to sneak a great goth track past their programming directors.

“I wish it was different, but I see you in my dreams every night,” Serafina sings, tricking you into first thinking “Hellmouth,” despite its title, is going to be a love song…and it is, but it’s a song about how the amount you loved someone will equal the amount of grief you will experience after they’re gone. Trust me on this.

Dana Bellamy‘s hammering drums on “Haunt Me (What Have You Become)” almost knock your teeth down your throat at first, but then turn into a stressed heartbeat. It’s a song that belongs on the soundtrack for The Babadook (one of the best movies about grief I’ve seen). “and in the end, I’ll wait for you” reveals the band’s love of Joy Division. I mean, listening to Howarth-Withers’ bass and tell me she’s not a fan of Peter Hook. “I will like awake, living through my life,” Serafina sings, evoking images of her “Longing for all the times we shared…” as she wonders how she can go on alone.

“Poison Kiss” is sure to be on many goth mixtapes (“Your poison kiss is a special kind of hell.”) in the future. “Please don’t leave me rotting in the ground. Please don’t leave me when you’re dead and gone. I wish I knew you better,” Serafina laments on “Your Love Is My Revenge.” “When will I see you again?” she wonders. We all wonder that after a loss. She struggles with acceptance, regret, and the loss of not only a loved one, but also of a sense of purpose and time. Emmalia sounds like she’s taking a belt sander to her guitar at some points, while Bellamy opts for simple but massive drum fills. The combination works quite well.

The album ends with the creepy, somewhat hypnotic “it eats shadows.” It’s over seven minutes of guitar drone while Serafina’s spoken word lyrics loop over and over to make the hair on the back of your neck rise.

Bonnie Trash have used heavy guitars, drums, and lyrics to sum up the massive weight of grief. It can feel like a hydraulic press crushing you, first in one sudden blow, and then slowly squeezing the life out of you. Bonnie Trash know that a crucial step to living afterwards is to express your rage. You have to release it, and this album will help.

Keep your mind open.

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[Thanks to Kate at Stereo Sanctity.]

Rewind Review: The Jesus and Mary Chain – Darklands (2009 reissue)

The Jesus and Mary Chain‘s second album, Darklands (from 1987), was the first without a drummer. Bobby Gillespie had left the band to become the lead singer of Primal Scream, so drum machines were used for the percussion on the record. The Reid brothers, Jim and William share vocals throughout the album.

William is on lead vocals for the opening title track, which dials down the fuzz tones of Psychocandy, but doesn’t lose any of the groovy hooks JAMC can create. Jim sings on “Deep One Perfect Morning.” William’s strumming guitar chords on it create a shimmering effect that turns into a driving storm on the following track – “Happy When It Rains.” It’s a song about being caught in a bad relationship that sometimes feels like you have a good thing going.

Jim Reid sounds exhausted as a young man on “Down on Me,” with lyrics like “Twenty-five years of growing old. It just hangs in front of me.” William’s guitar work on it is excellent, even bringing in some surf-rock elements. “Nine Million Rainy Days” has William back on lead vocals, and he sounds like he’s been devastated by a lover (“As far as I can see, there’s nothing left of me. All my time in hell was spent with you.”). It’s a sad, haunting track and, upon hearing it again, makes me realize how much JAMC are an influence on Black Rebel Motorcycle Club.

Jim asks for answers from a departing lover on “April Skies,” which was the first single released from the album. “Fall” (which seems to have influenced The Raveonettes) brings back some of the growling fuzz of Psychocandy as Jim tries to explain to everyone how he’s dried up from constantly being pressured by the world. “Cherry Came Too” is easily the naughtiest song on the record and a tale (with doo-wop touches!) of kinky sex and obsessive compulsion.

William returns on lead vocals for “On the Wall,” a song about being stuck in time and place and not having much motivation or opportunity to change the situation. Despite the many songs on Darklands about bad relationships, misery after a breakup, and the motivations behind love, the album ends with the hopeful “About You,” in which Jim thinks maybe it can work out this time (“You and me, we’ll win, you’ll see…There’s something warm in everything…There’s something good about you.”).

Many were expecting another loud, raucous shoegaze record after Psychocandy, but the Reid brothers took the band and their sound in a different direction for the follow-up. It was a good decision.

Keep your mind open.

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