Equal Vision Records – Release Date: 5/10/24

Hot Water Music released their tenth studio album, VOWS, earlier this month and this year also marks the band’s 30th anniversary. To celebrate the occasion, they’ve crafted what is perhaps their most consistent record since 2002’s Caution. All of HWM’s choicest characteristics remain intact, with the addition of some modern influences and superb production, thereby elevating their tried-and-true formula to new heights.

“Searching for Light” addresses the different stages of life and how one’s views can change and evolve over time. It has a patient yet intense chorus, while the words clearly ring out, (“All the lessons turn into questions / Weighed down by the darkness, searching for light / All the lessons turn into questions / Break down, break down left to fertilize”). “Burn Forever” is led by singer/guitarist Chris Cresswell and features a buzzing, rhythmic guitar lead in its intro. The verse has somewhat of a post-punk feel before it transitions to the main hook, where a host of vocalists convey a sense of urgency. “After the Impossible” is one of the most beautiful songs that the band has ever written and contains especially heartfelt lyrics. Singer/guitarist Chuck Ragan is both vulnerable and hopeful, as he expresses a desire to hold out for something truly special, refusing to settle for anything less.

“Remnants” boasts contributions from singer Brendan Yates and drummer Daniel Fang of Turnstile, who named their band after a Hot Water Music song. The track illuminates the expert musicianship of HWM’s rhythm section, and presents a modern rock chorus that sounds like a natural progression for the band. “Bury Us All” is an extremely well-crafted song, with lyrics and music that mesh perfectly together. Its words are strikingly honest and speak of searching for comfort and stability in an uncertain world. VOWS concludes with “Much Love,” a triumphant love letter to the band’s fans. There’s a deep sentiment of gratitude, as they give thanks for the community that the band and their fans have built together over the years, (“So much in life won’t stay the same / But this right here will never change / We’ll raise a glass to you and sing / Much love, much love”).

The efforts of producer Brian McTernan on this record cannot be overstated. He brought together an array of guest musicians and varying influences, and was able to fuse all of these elements to create a unified vision. In short, the album flows incredibly well and sounds brilliant. In many ways, VOWS is peak Hot Water Music. Those who’ve ever enjoyed any of the band’s previous material shouldn’t wait to check this out.

Self-Released – Release Date: 3/22/24

While it’s been over five years since they released new music, Restorations have returned with a new sense of focus and sounding like they were never on any sort of hiatus. This self-titled record takes elements from each of their previous full-lengths and adds a host of new ideas, resulting in the band’s strongest and most confident album yet. The first song, “Field Recordings,” manages to contain most all of the record’s positive traits. It has a unique structure that doesn’t follow typical patterns, a multitude of layers and expert use of dynamics. It also highlights their distinctive ability to sing about timely social issues, but do so in a way that’s not obvious. The song even finds a way to incorporate an anthemic chorus and closes with an outro of guitar leads that wash over the listener like repeated waves.

“Film Maudit” features a slight folk vibe in its guitar work, but is contrasted with a persistent, head-bopping rhythm. There’s also a serene part in the middle section, where the song quiets to just a clean guitar lead. It’s here that the track almost shifts entirely, but it’s flawlessly executed and doesn’t seem disjointed in any way. The vocal range of singer/guitarist Jon Loudon is on display throughout, with lyrics that talk about abandoning a fight you can’t win. It doesn’t advocate giving up, but instead expresses a desire to simply no longer play the game. “Big, Dumb” begins with an electronic intro and random background noise that eventually segues to a soft piano section. After a few bars the entire band comes careening in and is rocking out at full force. Loudon sings, “Aren’t you tired of being lonely? Aren’t you tired of being mean?” and it rings like a snapshot of our everyday life. Other standouts include the fuzzy riffs on “Cured,” the layered backing vocals in the chorus of “800” and the overlapping guitar leads on “Someone Else’s Dream.”

The album’s last entry, “Charm,” appropriately presents a reflective tone. There’s a static-like effect on the vocals in the verse, which possibly symbolizes distractions or outside noise. However, undistorted vocals emerge in the chorus and provide clarity. The lyrics have a sense of longing for the simplicity of the past, but at the same time knowing there’s no going back. The song fittingly ends with Loudon repeating, “Don’t look away now,” urging the listener not to be afraid of embracing the future.

It’s a rare feat when a band can take this sort of break and resume without skipping a beat, let alone create their defining record. Restorations have somehow done just that and their return is undoubtedly one of the most welcomed surprises of the year.

Rise Records – Release Date: 1/26/24

Last week, Alkaline Trio released their tenth studio album and first for Rise Records, titled Blood, Hair, And Eyeballs. It marks the first time since Maybe I’ll Catch Fire that the band wrote the majority of the record in the same room together, and this approach proved to be highly beneficial. Despite it being over five years since the release of their last full-length, Alkaline Trio has returned sounding energized and laser-focused.

The album kicks off with “Hot for Preacher,” which is built around a ripping, metal-inspired guitar riff. It’s a fast-paced opener that’s meticulously arranged, but the band sounds very much at ease regardless of the complex structure. “Meet Me” features a rhythm-heavy verse that has a nice interplay between the bass and drums. Its airy chorus is unapologetically catchy, while the lyrics paint a picture of a not-too-distant dystopian future. “Versions of You” finds singer/bassist Dan Andriano assuming lead vocal responsibilities and starts off unhurried, but builds to a frantic chorus. Its peak comes when the vocals shift from Andriano to singer/guitarist Matt Skiba, only for Andriano to return with both vocalists providing overlapping leads as the song ends.

“Bad Time” presents a bouncy verse with a pronounced, palm-muted guitar lead. Drummer Derek Grant leads the charge on this track, providing creative and powerful drumming throughout. It also boasts a superb vocal performance from Skiba and is likely the biggest jam on the record. “Break” begins with definite shades of Good Mourning, set against a chorus that’s hyper-melodic. There are seamless transitions from verse to chorus and back again, making this song feel as though it was written in a very natural manner. The title track is an example of the band not overthinking it and just having fun. It has a huge, sing-along chorus and the accompanying video sees the band fighting zombies in a skatepark and even has a cameo from skating legend Steve Caballero.

The album concludes with “Broken Down in a Time Machine,” a straightforward Danny entry that sounds like it could’ve easily been included on From Here to Infirmary, and “Teenage Heart.” The latter is especially haunting, with lyrics that critique the gun violence epidemic and opioid crisis in America, (“All I want for Christmas is an AR-15 / My stocking stuffed with fentanyl”). The song again observes Skiba and Andriano trading lead vocals, but fittingly draws to a close with both singing in unison.

Blood, Hair, And Eyeballs is arguably the strongest Alkaline Trio album since 2005’s Crimson. It was recorded at Dave Grohl’s Studio 606 with Grammy award-winning producer Cameron Webb and sounds phenomenal. It’s also Derek Grant’s final recording with the band, as they split amicably after completing the record, and he more than did his part to go out on a high note. This album illustrates that not only is Alkaline Trio back, but that they still have plenty of new ideas and a lot left in the tank.

Epitaph – Release Date: 10/13/23

The Menzingers released their seventh studio album last month and in doing so, have retained their signature characteristics, while simultaneously breaking new ground. With much of their previous lyrical content rooted in nostalgia, this record deals more with events taking place in the present. There’s also an increased amount of confidence in the songwriting, which helps the songs to naturally sound more a bit more mature.

Album opener “Hope is a Dangerous Little Thing” places singer/guitarist Greg Barnett’s vocals front and center, and he continues to evolve and improve with each record. In many ways this song is classic Menzingers, infectious and catchy, but an older, wiser version of the band. “There’s No Place in This World for Me” finds them in top form, seamlessly blending punk and heartland rock. There’s even a sing-along outro that evokes hints of Naked Raygun.

“Nobody Stays” is an energetic entry, led by singer/guitarist Tom May, and one that mixes indie and alt-rock influences in a really unique way. Its lyrics talk about how nothing is permanent and the importance of enjoying the moment, and this theme is reinforced throughout the album. “Try” is another song penned by May and it’s steered by a phenomenal guitar lead that conjures memories of their second album, Chamberlain Waits. It features guitar leads that spring at the listener from all angles and sounds like a modern interpretation of their early years.

“Come on Heartache” is an expertly-crafted, midtempo number and likely one of the best songs they’ve written to date. Barnett petitions against having his heart broken again, while the band sounds especially comfortable moving at a slower pace. It’s the sort of song that years from now could likely be looked back on as a major turning point for the band. Other songs that successfully employ new influences include “Ultraviolet,” “Alone in Dublin” and “I Didn’t Miss You (Until You Were Gone).”

Some of It Was True sees The Menzingers growing up, but not in a way that’s necessarily predictable. They continue to push their sound and lyrics further, and do so with purpose. Ultimately, this is a record that not only effectively ties together their previous efforts, but one that positions them for a favorable future.

Blood Harmony Records – Release Date: 4/28/23

Earlier this year, Dave Hause released his sixth full-length, Drive It Like It’s Stolen. Hause has described the record as “post-apocalyptic Americana” and this term couldn’t be more spot-on, as many of the songs describe a dystopian future that isn’t far removed from the current state of America. The album’s first song, “Cheap Seats (New Years Day, NYC, 2042),” is quick to set the stage, utilizing a sparse arrangement, (only keyboards, a drum machine and vocals) to depict a society on the brink of collapse. It’s almost like Hause’s farewell to a way of life that can no longer be sustained. The song’s highpoint comes during its final minute, when the full band kicks-in with some serious Tom Petty and the Heartbreakers vibes.

“Pedal Down” continues the storyline, illustrating a hasty exodus for a presumably safer, more remote location. There’s a beautiful section where the dust settles and it’s just vocals and piano. Then the drums and added percussion crop up, helping to tie everything together. (“Is anyone out there? Is this thing on? / The temple is sacked and the healers are gone / You’ll turn into a pillar of salt if you dare turn around”). The mood shifts with the next entry, “Damn Personal,” which is one of the most rousing, catchiest songs that Hause has ever written. It contrasts upbeat instrumentation with somber lyrics, and really hits home if you’ve ever lost a close friend unexpectedly. It definitely pulls at the heartstrings, but ultimately celebrates great memories shared with a friend who’s gone too soon.

“Low” is a proficiently-crafted pop song that employs a slight country influence to examine a partner’s loyalty, while “Hazard Lights” features slightly comedic lyrics that add a bit of levity to a tempting situation. The latter addresses Hause’s sobriety and is yet another example of his innate ability to write about deeply personal matters, but do so in a way that it’s relatable for most anyone. (“Let me get you home, I’m weakest on the weekend / My Bambi knees are knocking, my thirst is steady creeping / I can’t turn you down, I can’t be alone / So I’m hearing you out with the hazard lights on”).

The title track is moody and groove-oriented, and deals with the battle that we’re all in against Father Time. It centers around Hause’s unique vocal delivery and the chorus evokes imagery of a hazy California sunset. The hook also reflects one of the album’s primary themes, the fact that there’s no turning back and that we shouldn’t fear an unknown future, but rather embrace it.

Catch Dave Hause this Friday, October 6th at Space in Evanston. He’ll be celebrating the tenth anniversary of Devour at this show and plans to play the album in its entirety, (along with other songs as well). Doors open at 7:00 PM and tickets are available here.

Self-Released – Release Date: 8/18/23

Last Friday, The Darién Gap released their debut EP, titled Haunted Lots. The band features Brian Moss, (The Ghost, Hanalei, Great Apes) on vocals and guitars, and multi-instrumentalist Mike Thompson, who plays bass, drums, guitars, and contributes vocals. This collection of songs is decidedly solid from start to finish, with a good degree of variance and detailed arrangements. In brief, it doesn’t sound remotely like this band’s first offering.

The opening track, “Looking,” blends a host of different influences into something that’s undeniably catchy, but not predictable in the least. There’s a good mix of punk and midwestern emo, and there’s also a strong undercurrent of aggression. “Albany Bowl” is an upbeat entry, reminiscent of Reunion Tour-era Weakerthans. The drumming fortifies this song with creative fills, establishing a sense of carefree abandon. “Bad Comment” employs more of a post-punk influence, with a smooth vocal pattern that twists and turns through a nontraditional, almost angular verse. The chord progression in the bridge conjures shades of classic Chicago punk and then somehow seamlessly transitions back to the guitar riffs from the verse, which is no small feat.

“The Shroud” possesses an anthemic chorus that’s suggestive of Samiam in terms of how huge the hook is. It’s memorable after only one listen and is executed in a very clever way. The final song, “I Wish I Didn’t Wish,” has an interesting juxtaposition of melody and major chords, coupled with lyrics that talk of the ongoing destruction of our planet. It’s hard not to listen to and picture images of the recent Maui wildfire. There’s also an effective use of dynamics where the song builds to a heavier part and then segues to a long section with just clean guitar leads. The vocals eventually return, almost like they’re leading the listener out of a bad spot and into the clearing. It’s as though you’re being ushered out of the darkness, which is a pretty ideal place to conclude a record at.

Haunted Lots is by all accounts an impressive debut and one that reveals new intricacies with each listen. A variety of styles are on display throughout this EP, yet it still retains a feeling of cohesion and identity. It’s that trait in particular that makes the prospect of any future material from The Darién Gap especially exciting.

Pure Noise Records – Release Date: 3/31/23

In late March, Samiam released their first album in 12 years and first for Pure Noise Records, called Stowaway. Despite not issuing any new music for over a decade, they’ve returned sounding as though they never missed a beat. Stowaway retains the band’s signature sound, while adding contemporary touches and previously untapped influences. The end result is easily one of the most listenable albums that they’ve ever made.

“Crystallized,” the record’s second entry, is intricately built, but executed in a seemingly effortless manner. It also features a unique, descending riff that really fuels the entire song. “Lights Out Little Hustler” highlights the distinctive vocals of singer Jason Beebout and its lyrics speak of isolation, a theme that’s found throughout the record. (“What makes you so hard for me to find / When you’re right by my side. I look for you every day / Always something in the way”). The song also contains an especially cool breakdown at its midpoint with undistorted guitar leads. This particular section makes the listener feel like they’re instantly transported to a beach in northern California at dusk.

“Shoulda Stayed” is catchy from the onset and likely could’ve been an alternative radio hit in the ‘90s, while “Natural Disasters” has a danceable intro riff and does an excellent job of establishing mood. Its lyrics address climate change and the ongoing destruction of our planet, which is something the band has witnessed firsthand in their home state of California. “Something” is the most straightforward punk song on the album and evokes shades of “80 West” off of Trips. Its lyrics talk about the search for a better future and the song closes with a flood of guitar leads that hit from every direction.

Stowaway is every bit as solid as recent Samiam classics like Astray and Trips, and might even be slightly more consistent from start to finish. They’ve managed to preserve the characteristics they’re best known for, but also seamlessly inject new styles into their songwriting. The resulting record is one that’s loaded with catchy riffs and soaring choruses, with the band sounding as vital as ever.

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.

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.

Red Scare – Release Date: 1/20/23

Last Friday, The Brokedowns released their sixth full-length and fourth for Red Scare, titled Maximum Khaki. The album exhibits the band operating at peak efficiency and further refining their take on big-shouldered Chicago punk with touches of post-hardcore and garage punk. The record’s first song, “Obey the Fumes”, starts with a rousing intro lead and a bouncy rhythm that carries through to the verse. It’s catchy, punchy and to-the-point, and evokes shades of Toys That Kill. “Ernest Becker at a Costco” features a fuzzy guitar solo that enjoys a nice interplay with the vocal melody. The song then quiets for a brief spell, only to slowly amplify in intensity before the entire band lets loose one last time.

“UK82 Pt. 2: The Olds Are Not Alright” balances melody and dissonance and has an inventive vocal lead that slyly steals the limelight, while “Samurai Sword Decontrol” contains one of the album’s biggest choruses, with drum parts that perfectly accent the singing. “Honk If You’re Horny” is another first-rate entry, complete with a reckless rhythm and a sense of danger in the verse. It subtly recalls Chicago greats The Arrivals and employs infectious call and response vocals.

Maximum Khaki’s recording, courtesy of producer Joe Gac, bears mentioning as it captures the rawness of the band’s live shows, but also allows each individual instrument or voice to shine at the appropriate times. And the album of course earns bonus points for creative song titles like “Osama Van Halen” and “Satan in Quarantine”. Be sure to catch The Brokedowns’ record release show this Saturday at the Burlington Bar. They’re playing with Chinese Telephones, Dangerous Chairs, and Permanent Residue, and tickets are available here.

Spartan Records – Release Date: 10/21/22

84 Tigers released their debut album last month, titled Time in the Lighthouse. The band features singer/guitarist Mike Reed and bassist Ben Reed, both of whom played in Small Brown Bike, and drummer Jono Diener from The Swellers. While traces of the aforementioned bands are certainly present in their sound, 84 Tigers is very much its own distinctive project and one that freely explores new musical territories. One of the first standout tracks is “Great Basin”, which begins with a quake-inducing bass line that is quickly overtaken by a forceful verse. There’s a smooth transition to the chorus that’s done in an unpredictable manner, yet still sounds natural. The song draws to a close with a haunting breakdown that builds in intensity before the drums come roaring in, leading the band through the chorus one last time.

“Atlas Fractured” opens with a melodic intro, followed by a sense of movement in the verse that evokes imagery of a boat navigating choppy waters. The chorus has a post-punk vibe that uniquely complements the tuneful intro riff, resulting in what might be the album’s most accessible entry. “The Waves Beneath” immediately draws the listener in with an interwoven guitar lead and vocal melody. The same guitar lead carries through to the verse before a dissonant bridge offers a definite shift in mood. That said, this section still very much fits with the song as a whole, and highlights their ability to balance melody and heaviness. “Waiting Season” also bears mentioning as it’s reminiscent of a more masculine version of early Alkaline Trio. Its verse climbs to a spacey, groove-oriented chorus and while it may have a slower tempo than many of the record’s other songs, it remains equally appealing.

On Time in the Lighthouse, 84 Tigers have crafted an album that’s solid and engaging from start to finish. The stellar production, courtesy of Marc Jacob Hudson, (Against Me!, Taking Back Sunday) is noteworthy and helps to emphasize the nuances of their songwriting. Even though they’re just getting started, 84 Tigers have already established a strong identity and laid the groundwork for what is likely an exciting future.

Epitaph – Release Date: 7/29/22

In late July, the all-star cast of punk rock lifers known as Beach Rats released their debut album. The band formed over a mutual love of 80’s punk and hardcore, and to simply have fun while creating music that evokes the spirit of that era. Not only did Beach Rats achieve that goal on Rat Beat, they also succeeded in carving out their own distinctive sound. Opener “Bikes Out” crashes through the speakers at a breakneck pace and the signature vocals of Ari Katz, (Lifetime) are front and center in the mix. Bassist Bryan Kienlen, (Bouncing Souls) also provides several prominent bass leads, which really assist in bringing everything together on this short and direct entry. “Heavy Conversation” features a unique, descending guitar lead in its intro, quickly followed by chords that transition furiously in the verse. The song brims with energy and would likely induce numerous fists in the air at a live show. It also enjoys somewhat of a loose feeling during the breakdown, illustrating that Beach Rats are fittingly more focused on mood than they are perfection.

The title track contains a vocal melody and accompanying chord progression that overlap perfectly, as well as a surplus of frantic guitar solos, courtesy of Brian Baker, (Bad Religion, Minor Threat) and Pete Steinkopf, (Bouncing Souls). The song quiets for a few seconds near the end, seemingly fooling the listener before the band charges back at full volume one last time. Conversely, “Blown to Bits” is more of a mellow track that mixes major and minor chords. It has lots of alternating rhythms that transition unexpectedly, and some underlying hardcore beats, all of which showcase the abilities of drummer Danny Windas.

Rat Beat was primarily written and rehearsed in Baker’s basement, and then recorded by Eric Bennett at Lakehouse Studios in just one day. It’s this sort of approach, both instinctive and not overthought, that really defines the character of these songs. There’s also an abundance of youthful drive and an undeniable sense of honesty on this record. It’s traits like this that allow Beach Rats to not only live up to the hype, but ultimately surpass expectations.

Blood Harmony Records – Release Date: 10/22/21

Last month, Dave Hause released his fifth full-length, titled Blood Harmony. Hause continues to evolve as a songwriter and the musical synergy that he shares with his brother Tim, who plays guitar, piano and provides backing vocals, has further solidified. These factors, coupled with the stellar production from Will Hoge, assist in making this the most focused album that Hause has crafted to date. The opening track, “Northstar,” enjoys a strong folk influence and thematically speaking, really sets the stage for the rest of the record. Its lyrics talk of Hause finding direction in life with his wife and twin sons, (“I’m an old ocean liner / It takes everything to make a simple turn. For an old timer / You taught me I still got so much to learn”). On the surface, the song is rather simple, but it’s beautifully and meticulously executed.

“Sandy Sheets” is arguably the most accessible song that Hause has ever written and it somehow doesn’t lose its appeal even after dozens of listens. It speaks of young love and simpler times, and that’s certainly easy to reminisce about given the current state of the world. As an added bonus, the lyrics also include playful nods to Gin Blossoms, The Cure, and The Bouncing Souls. “Plagiarist” opens with a classic rock ‘n’ roll riff and is suggestive of early Tom Petty. It also features nimble and perfectly-placed drum fills, courtesy of Chris Powell, which really propel the song. It concludes with Hause letting loose in the outro, with his vocals recalling his days as the frontman for The Loved Ones.

“Carry the Lantern” is a moody entry with a stomping rhythm and understated piano accents. It boasts a monster chorus and its lyrics offer a message of hope. It deals with heading into the unknown, but remaining unafraid to face whatever might await. Near the end, the song swells to a choir of backing vocals before coming back around for one last run through the massive hook. The album draws to a close with “Little Wings,” which is similar in tone with the first song and a nice way to bookend the record. Its words represent Hause talking to his sons and addressing how he hopes to raise them. The keyboard provides a touching melody for this deeply personal song, as the album’s theme comes full circle.

Blood Harmony retains somewhat of a timeless feel, in part due to its classic rock ‘n’ roll influences, but also because of the level of detail in both the arrangements and the recording. It’s undoubtedly Hause’s most complete album yet and should be well-received by most any fan of rock music.

Take This To Heart Records – Release Date: 8/20/21

For their latest full-length, Swim Out Past the Breakers, Telethon has crafted their most accessible album to date and also one that highlights the unique qualities of their songwriting. It captures the band mining a wide array of influences and exploring the intricacies of their arrangements, while simultaneously hitting their stride. Simply put, this record is peak Telethon. The first song, “Shit (Jansport),” features a frantic verse, a polka-esque breakdown and contributions from Franz Nicolay of The Hold Steady. The song’s structure is anything but conventional, yet it transitions from section to section in a seamless manner, and in that regard is similar to Jeff Rosenstock.

“Do You Know What I Mean (or Not)?” just might be the best song that Telethon has ever written. It has an exceedingly catchy intro riff, with the guitar and bass trading leads. Its bridge has somewhat of a marching rhythm and palm-muted chords, and cleverly eases into the chorus before returning to the exceptional intro riff. The song concludes with a head-bopping, shout-along section and would best be described as radio-friendly rock from a bygone era with a modern twist. “Checker Drive” is another standout track and includes prominent keyboard leads in both the intro and the chorus. Its verse has a definite late ‘90s alternative rock vibe, not unlike Fountains of Wayne, and the song closes with an extended outro that sounds strikingly similar to a theme song from an ‘80s sitcom.

“Cyan” is classic third wave ska/punk that boasts contributions from Devon Kay & The Solutions and is highly likely to induce a skank circle at a future Telethon show. “Travelator” is yet another bright spot, complete with power pop stylings, a distinctive vocal melody and a casual Northern Exposure reference. The song evokes shades of The Anniversary and also spotlights the abilities of the band’s rhythm section.

On Swim Out Past the Breakers, Telethon embraces their weirdness, but does so in a way that welcomes any and all listeners. It can’t be overstated how rare of an ability that is for a band. The album was recorded throughout 2020 and it’s interesting how its lyrics somewhat mirror the ups and downs of what was a very turbulent year for most everyone. In that sense, the record feels very topical. Ultimately, it’s clear that Telethon has really honed in on their writing and are more than capable of constructing whatever kind of song they want. Who’s to say where they’ll go from here, but rest assured that it will be exciting and unpredictable.

Self-released – Release Date: 6/11/21

Earlier this month, Meat Wave released a six-song EP, titled Volcano Park. Despite their last full-length being released over four years ago, the band has returned sounding as angst-filled and inspired as ever. The first song, “Tugboat,” begins with a foreboding riff and a marching rhythm. An instrumental bridge emerges that aggressively thrashes between chords and slyly finds its way to a shouted chorus. The song culminates with an incendiary ending that accentuates the drumming of Ryan Wizniak. The next entry, “For Sale,” exudes old school Chicago punk, mixed with a hint of surf rock. It’s not unlike Naked Raygun, but Meat Wave definitely puts their own distinctive stamp on the style.

“Yell at the Moon” opens with a discreet intro that explodes into a seriously badass riff. Here, the whole band is working together, like a true power trio, to generate a ton of noise. The vocals of singer/guitarist Chris Sutter sound somewhat imposing, thanks in part to a burly, stomping rhythm. The song continues to intensify until the epic riff returns and the band lets loose. Sutter justifiably exhibits a bit of swagger near the end, delivering several rock ‘n’ roll howls. The next track, “Truth Died,” changes things up with a spacey, alt-rock vibe. It seems likely that its lyrics reference the political climate in America during the last four years, and this matches the mood of the instrumentation extremely well.

The final song on Volcano Park, “Fire Dreams,” starts with a chugging rhythm that sounds like a slow-moving freight train. It plods along, anchored by bassist Joe Gac, before a pensive verse takes shape. The vocals are somewhat haunting and similar in tone to the two-note guitar riff. The middle section shifts and gets fairly quiet, as the band demonstrates their mastery of dynamics, before the song rises to the record’s most powerful and chaotic section. “Fire Dreams” is by all accounts a multi-layered entry and highly representative of the EP as a whole. The writing, performances and production of these songs are all spot-on, with Meat Wave sounding as though they’re poised to create something truly exceptional with their next album.