New wave / No wave – Page 6

Review: Shopping – All or Nothing

London post-punkers Shopping slid into the last few days of 2019 by releasing one of my favorites singles of the year, “Initiative.” That track brought back their crisp, “cold water skipping across a hot pan” fun sound and also indicated something more…something that was somehow extra cripsy.

That turned out to be their newest album, All or Nothing. The band (Rachel Aggs – guitar and vocals, Billy Easter – bass and vocals, and Andrew Milk – drums and vocals) had split apart geographically (Aggs and Milk in Glasgow, Easter in Los Angeles) but got together in Seattle to record “Initiative” and then the rest of the album came together in a ten-day period recording in London and Glasgow. The title of the album refers to not only their “go for it / we’re not screwing around” approach to the rapid recording process, but also the pop production of the record, bringing in more synths, changing up guitar styles, and sharing lead vocals through several tracks.

The album has plenty of political jabs, queer power cuts, and plenty of encouragement to live your life in truth and have a good time doing it. The opener, “Trust in Us,” is both a middle finger to the 1% and a rallying cry to the 99% to trust and rely on each other instead of embracing the myth that billionaires know what’s best for us. The song has a bit of a Yeah Yeah Yeahs vibe to it, which isn’t surprising since Shopping has admitted that YYY’s, LCD Soundsystem, Bronksi Beat, and Talking Heads were all major influences on the record.

“Initiative” follows with its snappy beats and fun lyrics about dealing with the daily work grind. The song would’ve been featured on the Office Space soundtrack had it been released in 1999. The bass heavy “Follow Me” (and Easter’s killer bass is all over this album) is up next. “Follow me, I’ll make it worth it,” Aggs sings. “CCTV is living for me,” Milk replies. London, it should be noted, has more CCTV cameras than most major cities on Earth, so I can’t help but wonder if the song is about doing goofy stuff just in public just to make those watching the cameras have plenty of “WTF?” moments at their desks.

Milk takes lead vocals on “No Apologies,” a killer cut abut realizing that a relationship is going down a dark, possibly dangerous path and that waiting for an apology is wasted, useless time. “For Your Pleasure” is probably filling dance floors in clubs all over London and Glasgow and L.A. by now with its bright synths and Milk’s wild beats that are seem to trip over each other and yet never get out of time.

His beats are like a kitchen timer on “About You,” and Aggs’ guitar seems to be playing in another room as she sings about problems in her relationship with her lover that she doesn’t want to admit are probably her fault, at least in part. The LCD Soundsystem influence is clear on “Lies” with its synth bass and hand percussion as Aggs and Easter sing a plea about trying to convince their respective lovers of simple truths.

“Expert Advice” brings back Aggs’ funky guitar work and Milk’s lead vocals. Milk and Aggs sing about being frustrated with someone close to them, but I can’t help thinking the song is also aimed at political figures (“You keep selling me the same old story…”) trying to convince everyone in Britain that Brexit will be great for everyone involved. The slightly down-tuned guitar on “Body Clock” is a pleasant surprise, and the title and final track is a tale of a relationship in which one half (Aggs, in this case) is doing the majority of the work and simply wants more from her lover or to call it quits.

All or Nothing is a solid record from beginning to end, with Shopping exploring new song structures and instrumentation, but keeping their sharp lyrics and only getting better as musicians.

Keep your mind open.

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Shopping’s new single is “For Your Pleasure.”

Shopping releases a new single/video, “For Your Pleasure,” from All Or Nothing, their new album out February 7th via FatCat Records. The songs that make up All or Nothing are the band’s boldest yet; confident, elastic, streamlined grooves that crackle with energy and intention. Along with cleaner, new production values, ‘80s synths and electronic percussion add new textures to their signature minimalist dynamic. Following the “bright and jangly” (Stereogum) lead single “Initiative,” ”For Your Pleasure” is frenetic and propulsive. The accompanying video was directed by Lessa Millet and features several notable musicians, including Sam Sparro, Janelane, and members of Ought, French Vanilla and Mo Dotti.

Watch Video for Shopping’s “For Your Pleasure” –
http://www.youtube.com/watch?v=9pBOBhq0DHQ

“‘For Your Pleasure’ is a song about frustration, the feeling of always wanting more, needing material things to distract or gratify us,” says Shopping. “It’s about consumerism but also searching for meaning in life. That feeling of longing that never really goes away even when you have the things, the job, the status or the person you thought you wanted. I think people who create music or art know what that feels like particularly.”

Director Lessa Millet elaborates: “When I first heard the song I immediately felt like it had this amazing gay club anthem quality. I think dressing up, looking fabulous, and going to a party to dance and be surrounded by other fabulously dressed queers and weirdos is a huge part of this community. It’s this thing that sometimes is lacking in your everyday life, but you get to have it in these special places. To feel great about who you are, and feel loved and seen and understood. I wanted the video to be honest and authentic. Everyone in the video is basically playing themselves.”

To write All Or Nothing, guitarist Rachel Aggs (Trash Kit, Sacred Paws), drummer Andrew Milk (Current Affairs), and Billy Easter (Wet Dog) returned to London for an intense, 10-day period. Then, they teamed up with US-based producers Davey Warsop to record and Nick Sylvester to mix the record in Los Angeles. All Or Nothing sees Shopping experiment further with the sonic additions that coloured 2018’s The Official Body, shifting their stripped-down ethos to one that took a leap into pop production. The trio’s vision – deeply queer; political by default – place them in a radical lineage of dance, a continuum connecting disco and post-punk to Chicago house and EDM.

Following shows in the UK next month, Shopping will bring their live show stateside in March. Tickets are available now and all dates can be found below.

Watch Video For Shopping’s “Initiative” –
https://youtu.be/8Owoq6vVkUs

Pre-order All Or Nothing:
https://fat-cat.co.uk/release/shopping/all-or-nothing

Shopping Tour Dates (new dates in bold):
Fri. Feb. 7 – London, UK @ Rough Trade East
Sun. Feb. 9 – Bristol, UK @ Rough Trade Bristol
Mon. Feb. 10 – Nottingham, UK @ Rough Trade Nottingham
Thu. March 5 – Portland, OR @ Mississippi Studios *
Fri. March 6 – Seattle, WA @ Sunset Tavern *
Sat. March 7 – Vancouver, BC @ The Biltmore *
Mon. March 9 – Reno, NV @ Holland Project *
Tue. March 10 – San Francisco, CA @ Rickshaw Stop *
Wed. March 11 – Los Angeles, CA @ 1720 *
Thu. March 12 – San Diego, CA @ UCSD *
Sat. March 14 – Tucson, AZ @ Club Congress (Spring Thing) *
Mon. March 16 – Sat. March 21 – Austin, TX @SXSW
Sat. March 21 – Dallas, TX @ The Blue Light (Not So Fun Wknd)
Mon. March 23 – Tallahassee, FL @ The Bark *
Tue. March 24 – Atlanta, GA @ The Masquerade – Purgatory *
Wed. March 25 – Durham, NC @ The Pinhook *
Thu. March 26 – Washington, DC @ DC9 *
Fri. March 27 – Philadelphia, PA @ Boot & Saddle *
Sat. March 28 – Brooklyn, NY @ Elsewhere *
Sun. March 29 – Portsmouth, NH @ The Press Room *
Tue. March 31 – Toronto, ON @ The Monarch *
Thu. April 2 – Detroit, MI @ Deluxx Fluxx *
Fri. April 3 – Fort Wayne, IN @ The Brass Rail *
Sat. April 4 – Chicago, IL @ Subterranean *
Sun. April 5 – Minneapolis, MN @ 7th Street Entry *
Tue. April 7 – St. Louis, MO @ Sinkhole *
Wed. April 8 – Lawrence, KS @ White Schoolhouse *
Thu. April 9 – Denver, CO @ Hi Dive *
Fri. April 10 – Salt Lake City, UT @ Kilby Court *
Wed. April 29 – Edinburgh, UK @ Sneaky Pete’s
Thu. April 30 – Leeds, UK @ Brudenell Social Club
Fri. May 1 – Glasgow, UK @ Audio
Tue. May 5 – London, UK @ The Lexington
Wed. May 6 – Paris, FR @ Supersonic
Fri. May 8 – Utrecht, NL @ ACU
Sat. May 9 – Hamburg, DE @ Molotow (SkyBar)
Sun. May 10 – Copenhagen, DK @ VEGA Ideal Bar
Mon. May 11 – Berlin, DE @ Urban Spree
Wed. May 13 – Leipzig, DE @ TBA
Thu. May 14 – Vienna, AT @ Fluc Café
Fri. May 15 – Prague, CZ @ Meetfactory
Sat. May 16 – Munich, DE @ Milla
Sun. May 17 – Bern, CH @ Reitschule/Rössli
Tue. May 19 – Winterhur, CH @ Albani
Thu. May 21 – Luxembourg, LU @ De Gudde Wellen
Fri. May 22 – Cologne, DE @ Bumann & Sohn
Sat. May 23 – Offenbach, DE @ Hafen 2

* = w/ Automatic

Keep your mind open.

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Top 20 singles of 2019: #’s 15 – 11

We’re almost to the halfway point. Who’s in the top 15?

#15 – Sisters of Your Sunshine Vapor – “Godshe”

Detroit’s Sisters of Your Sunshine Vapor released four singles this year, and this was my favorite. It’s bright, trippy, and moves along like a sports car set on cruise control.

#14 – Diagonal – “Negatives”

I’m calling it now. These Chicago shoe gazers are on track to be one of the Next Big Things. This cut blends psychedelia with shoe gaze and we’re all better for it.

#13 – Claude Fontaine – “Pretending He Was You”

Half of this album is dub, and the other half is bossa nova. All of it is good, and this was the first song I heard from it. I swooned.

#12 – Shopping – “Initiative”

Post-punkers Shopping slipped into the end of 2019 with one of the best singles of the year, poking fun at the rat race and The Man with a ripping bass line, typewriter-precise drumming, and that skittering guitar work only they can seem to play.

#11 – Public Practice – “Disposable”

Speaking of post-punk, Public Practice do it very, very well indeed. This single was a delightful treat in the latter half of 2019 and bodes well for hopefully a full album ahead.

We’re onto the top 10 tomorrow!

Keep your mind open.

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Review: Black Midi – Schlagenheim

I was talking with a friend of mine over the summer and he asked me if I’d heard anything by this new English band called Black Midi.

“I don’t know what they’re doing, but it’s pretty cool,” he said.

That’s as good of an explanation of them and their debut album, Schlagenheim, as I can give. The band (Geordi Greep – guitar and vocals, Matt Kwasnievski-Kelvin – guitar, Cameron Picton – bass, and Morgan Simpson – drums) mixes prog-rock, math rock, shoegaze rock, kraut rock, Japanese black MIDI rock (for which they are named) and, for all I know, actual rocks to produce music that is baffling, intriguing, and mesmerizing. The band have stated in interviews that the music they’ll make in ten years will sound nothing like they’re making now. They love experimenting. I heard an interview in which one member said they’ll sometimes jam for two or three hours and only take two or three minutes of material from it. They blatantly defy any attempt to label their music, which some people might find maddening, but it somehow makes my job easier. It’s like when another friend of mine described Aqua Teen Hunger Force by saying, “Once I knew there was nothing to ‘get,’ I got it.”

The album opens with guitars pleading for their lives on “953” as a drum kit is beaten into oblivion by Simpson doing an impression of a drunken kung fu master. The lyrics, which have something to do with the wages of sin (I think) take a back seat to the chaos around them. Just to screw with your head more, “Speedway” starts off quiet and mellow (despite its title) and adds robotic vocals to further disassociate the band with the listener’s expectations.

“Reggae” is anything but reggae (although one could possibly compare it to some of The Police‘s more experimental tracks, as they loved reggae, but why bother?). It’s sharp drumming and post-punk guitars in some sort of three-way with the odd lyrics about “fresh leather shoes” and strutting in style. One can only guess that “near DT, MI” was written while the band was driving to or from there. Don’t expect it to sound like any Detroit bands (Stooges, MC5, White Stripes) because it’s more like angry punk band from Math-magic Land. You’ll understand once you hear the guitars and keys.

The band has been known to wear cowboy hats onstage, which, along with “Western,” might be hint to their secret love of country music. Lyrics about being up before daylight and unrequited love certainly qualify, but this is country music filtered through the computers used to pilot the Mars rover.

“Of Schlagenheim” has Greep singing of a woman with a hot temper while his bandmates create some kind of post-punk madness behind him (and some of Picton’s heaviest fuzz on the record). “bmbmbm” could be a Goblin track in an alternate universe. “She moves with purpose,” Green singing while a woman cackles, laughs, and / or madly babbles in the background and Picton’s bass thuds like a hammer.

“Years Ago” is like riding a rollercoaster designed by H.P. Lovecraft, and the closer (and first single), “Ducter” is a track that’s evolved from when Greep and Kwasnievski-Kelvin used to busk in train stations that blends kraut rock synths with prog-rock jams.

I realize that this review is almost worthless, and you’ll understand this realization when you hear Schlagenheim. Another friend of mine saw Black Midi at the 2019 Pitchfork Music Festival in Chicago. He told me their live set was a highlight of the weekend. I told him what my friend said about them.

“I don’t think they know what they’re doing either,” he said, “but they were amazing.”

Keep your mind open.

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Mush encourages us to “Eat the Etiquette” ahead of their February album release.

Leeds, England’s Mush, are set to release their 3D Routine, in February on Memphis Industries. It was produced by Andy Savours (who has worked with bands like My Bloody Valentine, Pains of Being Pure at Heart, and Dream Wife) and the first single “Eat The Etiquette” is out now.

Mush specialize in playing weirdo, angular, observational guitar pop, both energetic and abrasive while also having a ton of fun. They’ve played shows with bands like Shame, Girl Band, Stereloab and more, and have been supported by sites like DIY and Loud and Quiet, as well as BBC 6Music.

They released a single through the legendary Too Pure Singles Club, and followed that with Induction Party earlier this year, which was a relentless burst of an EP (also released on Memphis Industries). “Eat The Etiquette” continues where the EP left off and is a total earworm of a track with a super catchy chorus that’ll get stuck in your head all day.

Keep your mind open.

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Review: Prettiest Eyes – Volume 3

Los Angeles’ Prettiest Eyes make music that’s been described as “post-industrial” by other folks, and I suppose that’s as good a description as any other, because I’m not sure I can come up with another. I mean this as a compliment. The trio of Paco Casanova (keyboards and vocals), Pachy Garcia (drums and vocals), and Marcos Rodriguez (bass and vocals) make a wild chaotic mix of new wave, no wave, post-punk, psychedelia, techno latino, and, yes, industrial. As you can imagine, playing this kind of controlled chaos requires a lot of energy, and that energy comes through in their live sets and on their new album, Volume 3.

The opening alarms and snappy beats of “Johnny Come Home” remind one of early Devo tracks. Casanova’s synths seamlessly meld the track into their fun cover of Crash Course in Science‘s “It Costs to Be Austere” – a pogo-inducing rocker that reminds us that being plain and stern in our beliefs does have a price. It sounds like all three of them had a blast recording it, and it’s a blast to hear live.

“I Don’t Know” is a solid psychedelic jam with great keyboard work from Casanova. “Mr. President” is a sharp techno track that dances along the edge of darkwave as Garcia sings about marginalised people seeking recognition (“Mr. President, say my name!”). Speaking of darkwave, the subject of matter of “Nekrodisco” falls into that category, but the instrumentation is straight-up industrial dance music. Rodriguez’s bass licks are relentless throughout it and carry the weight of the track with what appears to be ease but is actually damn hard work.

The squelching, wailing sounds of “The Shame” almost overpower you, and then “Another Earth” comes along – a dub track that throws you for a trippy loop. “Marihuana” is wonderfully bonkers with some of Rodriguqez’s grooviest bass work. “Summer in L.A.” has an underlying menace that you can’t escape. It might induce paranoia in those of weaker minds. “No More Summer” might be the most radio friendly cut, but I doubt they care about such things. “Strange Distance” gets back into psychedelic territory and the closer, “La Maldad,” ups the feedback and fuzz for the finale.

Prettiest Eyes are one of those bands that, after you hear them (and definitely after you see them live), you mention to anyone during any conversation about music. “I just heard this wild band from L.A. called Prettiest Eyes. They might be my new favorite thing,” will be a typical response.

Keep your mind open.

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Review: Fat White Family – Serfs Up!

It’s impossible to put a label on London’s Fat White Family. Are they a punk band? An art band? A no wave band? A pop band? None? All? Really, why bother trying? Their new album, Serfs Up!, combines all of those elements and more while poking fun at good taste, politics, Kim Jong-un, and a dozen other topics.

Opener “Feet” starts with electro beats and smooth vocals that remind you of some of Moby‘s work from the early 2000’s. The song’s about running from things that can entrap you, like passion, responsibility, and being a wage slave. You can apply the title of “I Believe in Something Better” to nearly anything – the current political climate, the hopes of stopping climate change, universal health care, or even just a better relationship with a lover. The song has all these weird, warping guitars and synths in it that I love.

The cool groove of “Vagina Dentata” instantly brought Gary Wilson to mind. It’s a song about a treacherous woman, which is right up Mr. Wilson’s alley. The jazz lounge piano and saxophone in the song are top notch. “Kim’s Sunsets” is the above-mentioned song about Kim John-un. It’s undeniably catchy and has to be the prettiest song ever written about a modern day Communist.

The wicked bass on “Fringe Runner” will get you dancing. It’s solid disco bass that is probably being sampled by scores of DJ’s even now. “Is there anything more inspiring than a menial job and the pittance it brings?” is the opening lyric of “Oh Sebastian,” a song with orchestral (Yes, orchestral.) touches that will make you grin. “Tastes Good with the Money” follows a similar theme lyrically, with jabs at rich elitists and blown kisses at the working class.

“Show the other kids how the other kids live,” they suggest on “Rock Fishes,” which almost has a reggae feel to it in its rhythm, but also has spaghetti western score flavorings that take it to another level. Those Morricone guitars drift into the slick “When I Leave,” a dark song that practically demands you enjoy it with a stiff drink. “Bobby’s boyfriend is a prostitute, and so is mine,” is the theme of the tick-tocking trippy tune “Bobby’s Boyfriend.” It’s a neat way to end the record, sending it out on a euphoric mind warp. The band does have an admitted history with heroin and booze, so you can’t help but wonder if the closer is something they concocted after a long day of chemical excess.

The title of the album suggests a revolution of sorts. Serfs worked farms for the lords that owned the land. Nowadays, most of us work for a tiny fraction of the world’s population who own practically everything. Fat White Family are telling us to put down our carts and pick up our torches and pitchforks (literal or metaphorical).

Keep your mind open.

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Live: Shonen Knife, Bev Rage and the Drinks, and Clickbait – Subterranean – Chicago, IL – October 01, 2019

This was a fun lineup that combined post-punk, queer core punk, and pop-punk in one show in a small venue in downtown Chicago. When I saw that Japan’s now-legendary Shonen Knife were playing alongside Chicago’s Bev Rage and the Drinks, I knew this would be a show to see.

Opening the show was another Chicago band – Clickbait. I hadn’t heard them before, but they put on a fun set of no wave post-punk that combined slick bass lines, precision drumming, and quirky guitar riffs with plenty of snarky attitude (in the best possible sense). They were intriguing and are definitely a band to watch. I have a feeling they could be going places soon.

Following them were fellow Chicagoans Bev Rage and the Drinks, who I’ve wanted to catch since hearing their first full-length album, Cockeyed, last year. It was a fun set, complete with free snacks, that tore through a lot of material. The guitarist mentioned they were too old to play songs longer than two minutes, but I suspect the truth is that Ms. Rage and her band are having so much fun and bringing so much fury that they don’t care if the audience can’t keep up with them. They also put out a lot of sound – there were three guitars, bass, and drums all going at once on multiple tunes while Ms. Rage raged about her dating life. They’re a must-see band if they’re near you.

I hadn’t seen Shonen Knife since I happened to be in Tucson the same night they were playing at 191 Toole. It was a blast to see them again. They came out shredding with “Konnichiwa” and then tore through new and classic material that covered some of their favorite subjects – candy, ice cream, furry animals, classic rock.

Shonen Knife were having a good time, as was the crowd. I’ve mentioned this many times to many people, but I believe it’s physically impossible to be blue when hearing a Shonen Knife song, and that’s certainly the case when seeing them live. They played at least four tracks from their new album, Sweet Candy Power (review coming soon), and all of them are good – especially the title track. Oh yeah, they played a Hardee’s in Springfield, Illinois the previous night and packed the parking lot and even scored free milkshakes after the show.

Sisters Atsuko (bass) and Naoko (guitar) always put out a stunning amount of power while singing songs about banana chips and capybaras, and their drummer Rosa is a powerhouse. It’s easy to get caught up in her adorable nature while she’s singing songs about cookie ice cream sandwiches, but she is a beast behind the kit.

They haven’t lost a step after so many tours and albums. Don’t miss them.

Keep your mind open.

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Review: CHAI – Punk

Creating their own niche and their own definition of “cute,” Japan’s CHAI are making great music to go with their aesthetic of “Everyone is adorable / beautiful / great in their own way, no matter what society and Madison Avenue may tell you.”

Their newest album, Punk, is a fun mix of post-punk, electro, J-pop, and other things that are difficult to define. Opener “Choose Go!” encourages all of us to embrace our inner power (and that phat bass line). “Get power fresh feeling!” they chant on “Great Job” – a salute to the power of housework and simultaneously a slap in the face to its drudgery. “I’m Me” sums up CHAI‘s philosophy as they sing, “Everybody’s wonderful.” amid bright synths and and lovely pop hooks.

“Wintime” is another lovely pop tune and “This Is CHAI” combines what sounds like anime music themes with Devo-like drumming and fuzzed vocals to produce one of your new favorite rave tracks. “Fashionista” is their rocking push-back against fashion culture and the burdens it puts on many of us who fall into its trap. It’s one of my favorite singles of the year. “Family Member” is another tune that lifts your spirits immediately upon hearing it. The handclaps encourage you to move along with them and the “wave your hands in the air” nature of it is unavoidable.

The cymbals on “Curly Adventure” seem to come at you from every direction, but never to the point where they overwhelm you or the song. “Feel the Beat” is good for both lazy bike rides and a spin bike workout, your choice. The build-up of its bright synths and lifting vocals is a pretty combination. “Future” starts off with Gary Numan-like beats and synths and CHAI singing about following dreams for a brighter future.

It’s a good goal for all of us. Following dreams, even ones we had as children, can be enriching. Enriching the self increases our ability to enrich others. In this day and age, there’s not much more punk than that.

Keep your mind open.

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Rewind Review: Art Brut – Bang Bang Rock & Roll (2006)

It’s a bit shocking to realize Art Brut‘s Bang Bang Rock & Roll came out 13 years ago this year, because it sounds like it was recorded yesterday. The wild post-punk / no wave record is bound to be a classic.

“Formed a Band” has Art Brut singing its praises and encouraging the listener to “stop buying your albums from the supermarket. They only sell records that have charted, and Art Brut, we’ve only just started.” Chugging guitars roar almost nonstop throughout it. The funny “My Little Brother” is a great song about worrying your siblings are turning into hipsters with bad taste in music (“…he made me a tape of tootles and B-sides. And every song, every single song on that tape said exactly the same thing. Why don’t our parents worry about us?”).

“Emily Kane” is one of Art Brut’s greatest hits as lead singer Eddie Argos sings an ode to the girlfriend he had when he was fifteen and still misses. “Rusted Guns of Milan” is a funny story about Argos not being able to have sex with a beautiful woman due to him having drank too much (although he claims otherwise), it being too dark, and his mind being elsewhere – perhaps thinking about Emily Kane.

“Modern art makes me want to rock out,” Argos sings on “Modern Art” – a crunchy, squeaky, loud tune about artwork and its effect on him. “Good Weekend” has Argos bragging about a new girl he’s met…or has he? One can’t help but wonder if he’s made up the whole story in an attempt to impress friends or give an excuse for preferring to be alone. It’s a fun garage rock track with a beat you can’t ignore.

“I can’t stand the sound of the Velvet Underground,” Argos sings on the title track (even though the song does devolve into a VU type of riffing by the end). He just wants songs that don’t retread old cliches (“No more songs about sex and drugs and rock and roll. It’s boring.”), even though he and the rest of the band embrace those cliches throughout the whole album. “Fight!” has Argos drunk and ready to take on a bigger, drunker guy outside the pub while his bandmates cheer him on. It’s a punk track in the middle of a no wave album. It’s great.

“Moving to L.A.” has Argos considering a move far away from dreary English weather and “drinking Hennessy with Morrissey on a beach.” It’s a fun send-up of California pretentiousness and rock. “Popular culture no longer applies to me,” Argos sings on “Bad Weekend.” Boy, I can relate to that. Ian Catskilkin‘s guitars hit hard on it, driving the tune to almost a racing speed. Those guitars flow in and out of distortion on “Stand Down” – a track about admitting when you’re wrong. “18,000 Lira” might be a song about touring in Italy. “These Animal Meanwe@r” is a heavy song about bullying that channels Weezer and Pixies. “Really Bad Weekend” is a tale of Argos nearing cheating on his girlfriend, but being rescued by he and / or his near-lover falling asleep instead. “Maternity Ward” ends the album with Argos telling kids in a maternity ward that “everything’s gonna be all right.” I hope he still means that thirteen years later.

It’s a fun, snarky, witty record that rocks harder than you might expect. It heralded good things for the band, who just released a new record last year. They’re also touring again, which is good news for all of us.

Keep your mind open.

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