Archives: March 2023
The Bouncing Souls – Ten Stories High
Pure Noise Records – Release Date: 3/24/23
Last week, The Bouncing Souls released their twelfth full-length, titled Ten Stories High. From the opening chords of the first song, it’s apparent that the band has returned sounding focused and revitalized. They’ve also once again teamed with producer Will Yip, whose flawless production only further amplifies this collection of songs, resulting in what is arguably the Souls’ strongest record in over 20 years.
The album begins with the title trick, which is driven by an outpouring of creative fills from drummer George Rebelo. It also features a chorus that’s immensely catchy, yet seems like it came together in an almost effortless or unforced manner. “True Believer Radio” has a chugging, rhythmic verse and its main hook is perfectly constructed for wild singalongs in a packed venue. “Shannon’s Song” is another entry that bears mentioning, as it evokes shades of their 2006 release The Gold Record, complete with layered songwriting and a signature guitar lead courtesy of Pete Steinkopf.
“Andy and Jackie” offers a nice change of pace and retains more of an overt pop influence than many of the other tracks. It also has a slight ‘80s new wave vibe and is buoyed by the plodding bass lines of Bryan Kienlen. The album concludes with “Higher Ground” and it feels like a lot of the record’s central themes are being brought together and merged with the band’s overall ethos. The song starts quietly, with palm-muted chords and singer Greg Attonito softly setting the scene. The intensity builds and by the time the rest of the band joins in around the 30 second mark, the listener would be hard-pressed not to acknowledge that they’re in for something special. Attonito’s words speak of adversity, but maintain a sense of resolve and deliver a message of overcoming struggles by working together and not facing problems alone. Simply put, “Higher Ground” is an absolute anthem that stands alongside some of the band’s best songs.
Ten Stories High exhibits The Bouncing Souls returning with their classic sound, but adding contemporary flourishes and an extra dose of urgency. It’s also not a stretch to say that this is likely the best recording that the band has ever been associated with. If you’ve enjoyed the Souls at any point in their almost 35-year career, then you really owe it to yourself to check out this album.
Fake Names – Expendables
Epitaph – Release Date: 3/03/23
Earlier this month, Fake Names released their second full-length, called Expendables. Compared to their self-titled debut, this album leans more towards post-punk and clear-cut melodies, but its foundation remains built upon old school punk and classic rock influences. There’s also a greater emphasis on the production and thanks to producer Adam “Atom” Greenspan, (IDLES, Yeah Yeah Yeahs) this collection of songs is decidedly focused and direct.
The title track features a distinctive descending riff in its verse and a chorus that’s aided by a congregation of backing vocals. It also includes a towering chord progression directly after the chorus that acts like a bridge. It’s seemingly simple, but deceptively creative. “Can’t Take It” opens with an evasive and slinking guitar lead before singer Dennis Lyxzén, (Refused, INVSN, The [International] Noise Conspiracy) paints a picture of frustration with today’s modern world and laments things like excess screen time and information overload. At one point he screams “I’m gonna crack!” and a guitar solo soon emerges and overlaps with the intro riff at just the right moment.
“Damage Done” has a driving rhythm and a classic punk sound that somehow doesn’t sound predictable. Its chorus acts like a rallying cry and mammoth riffs abound, courtesy of guitarists Brian Baker, (Minor Threat, Bad Religion, Dag Nasty) and Michael Hampton, (S.O.A., Embrace). It certainly isn’t a stretch to say that this song is the record’s catchiest and most accessible. In contrast, “Caught in Between” is a dissonant, midtempo entry that enjoys a slight alternative rock vibe in its main hook. It also highlights the ironclad rhythm section, consisting of bassist Johnny Temple, (Girls Against Boys, Soulside) and new drummer Brendan Canty, (Fugazi, Rites of Spring). The album concludes with “Too Little Too Late,” an agile, post-punk number that mixes melody and discord in a really unique way. Its lyrics speak to the album’s overall themes, which are often dark, but still maintain a sliver of hope.
On Expendables, Fake Names have evolved and pushed the boundaries of what they do, while still preserving their core characteristics. There’s strong writing and first-class performances throughout this record, with the band members pooling decades of experience to create something special.
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