#15: MIEN – (self-tited) – This psychedelic supergroup (featuring members of the Black Angels, Elephant Stone, the Earlies, and the Horrors) had a fine debut indeed with this record that dabbles in some of the darker sides of psychedelia.
#14: Slaves – Acts of Fear and Love– How can two lads make so much punk noise? Easy, they’re powered by anger, satire, ferocious beats, and shredding guitar. These cats are probably the Next Big Thing, but I doubt they give a damn about that.
#13: Hprizm – Magnetic Memory– This rap record has more layers than an onion, wicked beats, philosophy, and calls for the disenfranchised of all colors, sexes, and creeds to band together.
#12: D-Tension – The Violence of Zen– Fierce hip-hop. That’s the best way I can describe this solid record from Boston MC D-Tension. He’s one of the wittiest rhymers out there and deserves to be heard more across the world.
#11: Caroline Rose – Loner – This pop-punk record is full of witty lyrics, sex, and snark. Rose is like a ninja – jumping out of the shadows to wallop you and then retreating back into the rock and roll shadows to plan her next attack.
We’re into the top 10 next!
Keep your mind open.
[Subscribe and your e-mail inbox will never be alone.]
British punk duo Slaves‘ third album, Acts of Fear and Love, is one of those albums that assures you guitar-driven records aren’t dead.
Getting right in your face from the outset, drummer / lead vocalist Isaac Holman asks, “What are you doing?” and claims, “Nobody is the shit.” on “The Lives They Wish They Had” – a sizzling diatribe against selfie culture, Facebook profiles, and “a desperate need for acceptance.” The second half of it might be the most punk thing you’ve heard this year. “Cut and Run” is one of Slaves’ catchiest tunes with guitarist Laurie Vincent putting down distorting, squealing riffs and Holman almost getting funky with his stand-up kit.
The punk fuzz is back with full force on “Bugs” (a song about two-faced politicians causing “another letdown generation”), as Vincent’s guitar chords crawl all over you and Holman’s beats are liable to induce a mosh pit wherever you may be while listening to it. “Magnolia” is about the gleam and sheen put on British suburbia while the country struggles with Brexit, xenophobia, and an uncertain economic future. “It’s gotta be perfect,” Holman sings again and again.
“Daddy” is a little, clever tune about men and their mid-life crises. “Chokehold,” a song about a break-up, has Vincent putting down angular post-punk riffs as Holman sings about drowning his sorrows and noticing the smell of his girlfriend’s hairspray on his pillow after she’s gone.
“Photo Opportunity” is a clever track about being famous as Holman tries to tell a fan that he means no disrespect for turning down a request for a photo with him, but he’s a busy guy…although he later has second thoughts as he goes out with his mates and realizes not much has changed in his life. The opening guitar roar on “Artificial Intelligence” will snap you awake better than a mug of coffee. Vincent’s guitar is fierce throughout the whole track, almost relentless in fact.
The title track closes the record. The title could be a reflection of the reasons behind Brexit, the day-to-day workings of any relationship, or how we make everyday decisions…or none of the above. Holman mentions a teacher who taught him hate doesn’t exist, just “acts of fear and love,” and a friend who would “do anything for anyone” whose decisions / acts of fear and love eventually led him to an eight-year prison sentence.
Acts of Fear and Love is a solid record. Guitar rock is not dead. Punk is not dead. Slaves, three records in, are just getting started.
We’ve arrived at the top 5 live shows I saw this year. Here they are.
#5 – LCD Soundsystem – Aragon Ballroom – Chicago, IL November 7th.
This was the second of a three-night residency at Chicago’s Aragon Ballroom for LCD Soundsystem. It was the second time we saw them in 2017, and they were healthier and a bit goofier than the first time. It was also the best show we’d seen at the Aragon in a long while.
Slaves‘ opening set for Kasabian at this show was, without question, the best punk rock show I’ve seen in a couple years. They came out with cocksure swagger and proceeded to freak out the entire crowd. My friend, Portia, and I had a “rock moment” with them when we were the only ones in the audience who knew to yell “Fuck the hi hat!” when they began telling the story behind the song of the same title and they pointed us out in the crowd. Win.
I hadn’t seen Gary Numan in concert for about ten years, but he hasn’t lost a step. He actually has become better in that time. His band was tighter, his vocals were sharp, and the spectacle of the performance was top-notch.
No, this isn’t an error. LCD Soundsystemare in my top five live shows of 2017 twice. This was the first time my wife and I saw them, and we were instantly hooked. They became one of our “We’ll see them anytime.” bands thanks to this performance that closed the first night of the 2017 Pitchfork Music Festival. The crowd was wild, erupting into two mosh pits during the show, and LCDSS threw down a raucous set despite dealing with injuries and mild illness.
Within moments I knew this sold-out Midnight Oil show was going to be the best show we saw all year. It was their return tour after twenty years and they sounded like they’d stepped out of a time machine. Lead singer Peter Garrett even appeared to not have aged in that time. They proved they were still one of the most relevant and best live acts in the world. It was uplifting to see and hear them again, and left everyone hoping for new material soon.
There you have it. Go see a bunch of live music in 2018. Your favorite band is depending on you.
Keep your mind open.
[You can still subscribe before the end of year. I won’t judge.]
I still don’t know why Kasabiandidn’t sell out their Chicago House of Blues show last week. They sold out Chicago’s Metro a couple years ago when I saw them with Bo Ningen. Yet, here they were with fellow Brits Slavesin a venue about the same size, but tickets were still available at the box office an hour before the show. As one guy behind me in the crowd said, “These guys sell out at Glastonbury. Where the hell is everybody?”
That’s not to say there was barely anyone in the place. The venue was nearly full, and I was happy to see so many people there in time for Slaves’ set. I’ve been keen on this duo since I heard their single “Where’s Your Car, Debbie?” Their newest album Take Controlwas one of my top records of 2016.
They came out oozing punk attitude and were soon tearing through songs like “Sockets” and “White Knuckle Ride.” My friend, Portia, had just seen them open for Buzzcocks earlier in the month and knew their set. She and I were the only people in the audience, it seemed, who knew how to reply when Slaves’ drummer and lead singer, Isaac Holman, told the story about how a man once asked him, “Where’s your hi-hat?” after a gig. The correct response, by the way, is “Fuck the Hi-Hat.” My friend and I were yelling it so much during the build-up to the song that people around us thought we were angry drunks.
People were still buzzing about them after their too-brief seven-song set, and I’d like to see them in a small venue where they’re the headliners. I’m sure that would be nuts.
Kasabian soon emerged and ripped into a fun set that had the crowd bouncing for most of the show. They started with “Ill Ray” and “Bumblebee” and had the crowd in their hands by the time they reached “Ez-Eh.”
A funny moment happened when they messed up the introduction to “Underdog.” “That’s the first time that’s happened,” said lead singer Tom Meighan. “I’m glad you were all here to see it.” They jumped back on the horse and nailed the song. Everyone laughed with them. Up next were three solid cuts, “Shoot the Runner,” “You’re in Love with a Psycho” (from their newest record, For Crying Out Loud), and “Club Foot.”
The rest of the show was just as fun, with “Empire,” “L.S.F.,” “Bless This Acid House,” “Vlad the Impaler,” and “Fire” being good highlights. It was a fun Tuesday night crowd (perhaps that’s why it didn’t sell out) rocking to two solid bands. It’s too bad if you missed it. Much praise also to the HOB and tour sound crews. The mix for both bands sounded great.
Chicago’s annual Riot Fest has unveiled its first lineup announcement for 2017, and it trumps Lollapalooza’s.
They’re bringing in punk legends Buzzcocks,GBH, and Bad Brains, new punks Slaves, Death from Above 1979, and Pennywise, grunge powerhouse Dinosaur Jr., industrial legends Ministry and Nine Inch Nails, electro legends New Order and modern icons M.I.A. and Peaches, progressive psych-rockers TV on the Radio, modern rock giants Queens of the Stone Age, and rap legends Prophets of Rage, Wu-Tang Clan, and Mike D.
They still have twenty-five more bands to announce. Tickets might be sold out by the time you read this, so don’t wait to get yours.
Don’t let anyone tell you that there’s no good music anymore. There is always good music. You just have to find it. I hope this list and this blog helped you discover some good stuff in 2016.
I reviewed close to 50 albums released in 2016 last year, so I’ve decided to highlight the top 25. Here are numbers 25-21.
25.Slavesbring great British punk that skewers not only the elite rich, but also Millennial slackers and even the stupidity of drunk driving.
24.Dunsmuiris a metal supergroup featuring members of Clutch, Fu Manchu, The Company Band, and Black Sabbath. Their debut is a concept record about a shipwrecked crew fighting monsters on a remote island.
23.
Canadian psych-rockers Elephant Stonehave yet to put out a bad record, and this one added electro touches to their mix of 1960’s psychedelia and bhangra.
22.
Birth is a fine piece of stoner rock from this three-piece Australian outfit. I was on a big stoner rock kick in 2016 and ORB certainly fit the bill.
21.
Klaus Johann Grobe were a delightful discovery this year, and their latest album, Spagat Der Liebe, is a fun electro / lounge record suitable for both late night parties and making out.
Who cracks the top 20? Come back tomorrow to find out!
Keep your mind open.
[Start your New Year off right by subscribing to us.]
Take Control by Slaves (Isaac Holman – drums and vocals, Laurie Vincent – guitar, bass, vocals) is the best punk record I’ve heard in months. Opening with “Spit It Out,” the duo launch into a diatribe about their generation whining about nostalgia they haven’t yet earned (“Suckin’ on a sour-sweet, waitin’ on a train. Lookin’ at the information, ready to complain. Thinkin’ back on better days, how it used to be. Pull yourself together, boy, you’re only twenty-three!”). It’s vicious and heavy and one of the best opening tracks of the year.
“Hypnotised” has great fuzzy bass and even better hectic drums behind it. Sham 69 must be proud of them because Slaves clearly are expressing their love for them with the somewhat distorted vocals and slick rhythm of the track. The Beastie Boys’ Mike D contributes a verse of rapping as well as some screams and vocals on “Consume or Be Consumed” – a dire warning about materialism and the general gluttony of First World living. The vocals are pretty much rap lyrics, and Mike D must’ve felt like he was back in his early days when the Beastie Boys were a wacky punk band (Remember that?).
The title track does in less than two minutes what the Foo Fighters wish they could still do – angry rock with no muss or fuss. “Rich Man” is both funny (“Rich man, I’m not your bitch, man.”) and groovy. Vincent and Holman both admire the subject’s moxie (“He’s got a big house and a shitload of land.”), but know money doesn’t bring long-term happiness (“Five kids by three different girls, seven cars and not a friend in the world.”) The opening of “Play Dead” sounds like L7 cuts and the vocals are akin to something off an early Jon Spencer Blues Explosion album.
Vincent’s guitar on “Lies” has some blues touches, believe it or not. Don’t worry, they get back to the angry punk on “Fuck the Hi-Hat” (which isn’t part of Holman’s stand-up drum kit – “I don’t need it!” He yells by the end.). “People That You Meet” is about folks Slaves have met here and there and essentially a new version of Sesame Street’s “People in Your Neighborhood.”
The electric beats of “Steer Clear” are surprising, as is the mellow tone of the song about the dangers of drinking and driving. It’s actually pretty cool that Slaves (and guest vocalist Baxter Dury) would put a song like this on the record in hopes of reaching their fans (“Throwing all your things in the back of your car, now you’re leaving in a drunken rage. That’s why I say, ‘Please don’t kill yourself behind the steering wheel.’”).
“They don’t call it ‘work’ for nothin’!” begins “Cold Hard Floor,” which turns into a slightly psychedelic trip that Ty Segall would enjoy. “STD’s / PhD’s” brings back the heavy fuzz and programmed beats. It’s almost an industrial goth track. “Angelica” is like a punk cover of a 1950’s teen-rock ballad, but with drum machine beats and lyrics about the girl in question being a “bloodsucker” instead of doo-wop lovey-dovey beats and vocals. They return to distorted punk on “Same Again,” a song about the drudgery of everyday life in Britain (“Same again, week in, week out.” / “Straight to the bar, you know the drill. Money to spend, time to kill.”).
It’s fun stuff, and refreshingly brash and in your face for most of the record. Give it a spin and snap out of it.
