Triple Fast Action formed in 1993 and disbanded a mere five years later. In that brief period of time, they established a reputation for their engaging live performances and dynamic musicianship. They would eventually sign with Capitol Records, joining other prominent Chicago-area acts who also partnered with major labels around the same time, (Smashing Pumpkins, Smoking Popes, Veruca Salt, Hum, Urge Overkill and others).
On April 21st, they’ll release a self-titled collection of 37 rare and unreleased songs. It will be available from Forge Again Records as a triple LP, double CD and digitally. Twenty of these tracks were recorded by the band in their practice space in 1994 and have now been remixed by John Agnello, (Dinosaur Jr., Redd Kross, Sonic Youth). The remaining songs are from various studio sessions or radio appearances, and the entire album was mastered by Carl Saff.
When asked about the origins of this project, drummer Brian St. Clair said “It was something that came up after Justin from Forge Again Records released the reissue of our album Cattlemen Don’t. We had all these songs sitting around that had never seen the light of day and we all thought, ‘Why not share them as long as there was favorable interest in the band after all these years?’ It honestly surprised us as a band.”
One of the record’s most notable tracks is “Mooner,” which the band recorded themselves back in ’94. When recalling the recording process for this song, bassist Kevin Tihista said “It was one of those songs that I knew was something special from the audience response when we’d play it. I can’t say I remember recording this particular song at the practice space, but as far as recording all of these songs, my memory is that we didn’t sleep for maybe 36 hours because we recorded them all in like a day, and then another half day mixing them. We did it all ourselves and we didn’t really know what we were doing, except for Ronnie, (guitarist Ronnie Schneider) who owned the 16-track reel to reel we used.”
Check out the video for “Mooner” below and don’t forget to pre-order the album here.
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.
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.
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.
Earlier this year, Strategies released their self-titled, debut EP. The band’s lineup consists of guitarist Paul Lask, (The Ghost, Tight Phantomz) drummer Neil Hennessy, (Lawrence Arms) and singer Brian Moss, (Great Apes, Hanalei, The Ghost). We recently spoke with Paul and Brian and talked about the band’s origins, which trace back to the early months of the pandemic. We also discussed their sound, as it incorporated elements of indie rock and Midwestern emo, not to mention a host of other influences. Additionally, we conversed about how the EP was recorded, some of its lyrical content, Strategies’ future plans and more.
Sludgeworth recently announced that their 1995 compilation Losers of the Year, which has been out of print for over 25 years, would be released on vinyl and available on streaming services for the first time ever. Red Scare Industries will be rereleasing the album on December 9th, and the CD/digital version will feature two previously unreleased tracks. Additionally, the reissue will include live photos from the band’s heyday and liner notes written by Naked Raygun’s Jeff Pezzati, Rise Against’s Joe Principe, Mikey Erg, Dillinger Four’s Patrick Costello and more.
We recently caught up with some of the band members and discussed this seminal record. When asked about their impressions when they listen to these songs now, drummer Brian Vermin said “A lot of years went by before I revisited it. Once my son showed an interest in music and wanted to know more about the bands I was in, I played him Losers of the Year. His response was ‘these songs could still be popular today,’ so obviously the young boy has great taste. The songs are a timestamp in my life.” Singer Dan Schafer added “I also went years without listening to Sludgeworth and forgot that I used to intentionally sing a little gruffer. Honestly, I might have subconsciously imitated James Hetfield from Metallica, although I never would have admitted it then, (laughs).”
We’re sharing the video for one of the unreleased songs below, called “To Be the Same”. When recalling what inspired the creation of this song, Schafer said “I can remember playing bass with Brian and Dave, (guitarist Dave McClean). Strat, (bassist Mike Hootenstrat) was running late to practice and we started playing the parts via improvising. I thought about the idea of turning a blind eye to what is clearly wrong for fear of not fitting into the group. The words ‘To Be the Same’ came out and I rolled with the concept.” Guitarist Adam White shared his thoughts from a stylistic standpoint and said “I feel like we found a groove and went with it. I hear a lot of Fugazi influence in this song and love that. I liked that Sludgeworth kept experimenting with different stuff and did not fall into any simple formula like a Ramones-type band.”
When speaking about how the two unreleased songs complement the rest of the album, White said “I was actually surprised how well they fit in as far as the production and sound quality, but I always felt that these songs needed to be released. They’re definitely a good representation of our music and style.” Schafer was also pleased with their inclusion and said “I always liked how the record was sequenced, but was encouraged to find some unreleased tracks. These two were the obvious choices. I thought they were lost forever, but they were somehow thankfully retrieved.” Check out the video below and be sure to pre-order the record here.
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.
Chicago’s big bird. will play their first show ever on Friday, October 14th at the Gman Tavern. The event will also serve as a release party for their Call / Repeat EP, which will be available that evening on lathe cut clear vinyl. The band’s lineup consists of singer/guitarist Jason S. Thompson, (The Sky We Scrape, Little Teeth, Inspector Owl) guitarist Jeff Ulbrich, (From Beyond These Walls) bassist Alex Palermo, (Royal Dog, Typesetter) and drummer Matt Gonzalez, (Royal Dog, Typesetter).
When asked about how they formed, Thompson explained “We got together in January of this year. Alex and I have been friends through previous bands playing together over the past decade, and always tossed around the idea of doing a band or musical project together at some point in the future.” He continued, “I had been living in Munich, Germany for about five years and when I shared that I’d be moving back to Chicago we started talking about making some noise together. We kicked around a few different ideas and decided to lean into some heavier sounds since that’s something we both love, but haven’t really played actively in years. We got together with Matt, who also plays in Typesetter with Alex, and Jeff, who is a long-time friend of Alex. All three of them are super-talented and it all jelled immediately and has been a lot of fun.”
Call / Repeat was recorded at the band’s practice space, with Thompson handling engineering duties for the first time. He received guidance from Chuck Macak, who also mixed the EP, while Alan Douches mastered it. The EP’s final song, “Double Hockey Sticks”, was initially demoed by Thompson while he was still living in Munich. When describing how the song evolved, he said “Once I brought the song to the others in big bird. it took a more nuanced shape and gained a lot more life and texture. The bridge section specifically is something that we worked on for a while to try and make it really special. During the recording process, I think I recorded 15 or 20 different vocal layers that built throughout the section into a weird and creepy choir, but we ended up scaling it back and only have a few voices in there. It’s definitely one of my favorites to play together.”
Take a listen to “Double Hockey Sticks” below and check out the entire EP here. Tickets for the upcoming show at Gman, which also features Still Alive and Intolerable Swill, can be found here.
Less than a year after the release of their previous full-length, Dan Vapid and the Cheats have returned with a brand-new studio album, titled Welcome to Dystopia. It features 16 tracks in total and comes out September 23rd on Eccentric Pop Records. We’re pleased to be premiering the album’s first single below, called “Sour Pauline”. When asked about the inspiration for this song, Dan Vapid said “I was thinking about the toxic people that I’ve encountered over a lifetime when the song ‘Sweet Jane’ by the Velvet Underground was played on shuffle. I’ve probably heard that song a hundred times, but on this occasion the title ‘Sour Pauline’ popped into my head, along with a melody. From there, the remainder of the song quickly followed.”
When discussing the record’s overall theme, Vapid indicated that a common thread is present throughout the album, as it was written entirely in 2020. He said, “Welcome to Dystopia is an unfiltered response to everything I was (and still am) feeling about what faces us as a country and society. It’s mostly angry and dark. There’s not a lot of sunshine, rainbows and lollipops here…most people use social media to convey what they are thinking and feeling. For my own sanity, I try to stay away from social media as much as possible and prefer music to be my outlet.”
Check out the video for “Sour Pauline” below, which was made by Henry Weintraub from Memorable But Not Honorable, (a cassette label based in Eugene, Oregon). Vinyl and CD pre-orders for Welcome to Dystopia will be available starting September 16th from Eccentric Pop. Also, be sure to catch the Cheats when they play Cobra Lounge on November 19th with The Methadones, The Copyrights, and Mikey Erg. Tickets for the show can be purchased here.
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.
Last month, we caught up with The Interrupters before their show at the Aragon Ballroom and spoke with bassist Justin Bivona and drummer Jesse Bivona. We talked in detail about their new album, In the Wild, which comes out August 5th on Hellcat Records. We discussed what it was like writing during the early stages of the pandemic and how having guitarist Kevin Bivona also serve as producer helped to shape the sound of the record. Additionally, In the Wild features arguably some of the most personal lyrics to date from singer Aimee Interrupter, and it’s ultimately the common themes found in her words that really tie the album together. We also chatted about the band’s experiences touring with Green Day last year, their memories from previous shows played in Chicago and the extensive touring plans they have for this year and beyond.
This month, The Methadones are releasing their 2007 full-length This Won’t Hurt… for the first time ever on vinyl. The album was remastered earlier this year by Collin Jordan at The Boiler Room and features a bonus track called “Take Me to Japan.” The record is up for pre-order now via Red Scare and will be available at the band’s upcoming shows. Catch The Methadones on Saturday, 6/11 when they play Reggie’s for T1 Fest with Josh Caterer Trio, Dan Vapid & The Cheats, Capgun Heroes, and Hayley and the Crushers. Also be sure to check out the remastered version of “Already Gone” below.
Additional Upcoming Shows 7.02.22 – Red Flag – St. Louis, MO 7.15.22 – Punk Rock Raduno – Bergamo, Italy 10.29.22 – THE FEST – Gainesville, FL
Naked Raygun recently announced a Kickstarter campaign for a vinyl single and accompanying comic book. The 7-inch record will feature the song “Broken Things,” which comes from Naked Raygun’s 2021 album Over the Overlords, their first studio album since 1990. The record’s B-side will contain etched artwork by Eisner-nominated artist James Romberger and Ignatz-nominated artist Josh Bayer. Romberger and Bayer are also creating a 14-page comic inspired by the song, with the artists teaming up to work on separate sections of the same page.
The idea for this collaboration came about after Jason Mojica, (Xylophone Media) interviewed Naked Raygun singer Jeff Pezzati for his podcast The Modernist Society. During their conversation, the topic of comic books came up and the idea was born shortly thereafter. Mojica explained, “I interviewed Jeff in January of last year and that’s when he mentioned that Over the Overlords was coming out. Given that we talked a bunch about comics and that I’ve always seen comics in the band’s DNA, especially the covers for Throb Throb, Jettison, and Understand?, I pitched him on my crazy idea and to my surprise and delight, he said ‘yes’.”
The records will be available on black vinyl, limited edition pink vinyl, (500 copies) and limited edition blue vinyl, (1000 copies). Rewards for backers of the Kickstarter project also include original artwork by Romberger and Bayer, artist-designed Naked Raygun t-shirts and more. The Kickstarter campaign is live now through June 8th.
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.
Originally a printed zine from 1998 – 2004, our goal is to provide coverage of Chicago’s expansive independent music community, and to occasionally highlight some of our past work. National and international bands will be featured as well, but above all, we hope to create lasting content for music fans everywhere.
