Classics of Love started in 2008 and is of course fronted by former Operation Ivy vocalist Jesse Michaels. The band’s lineup is rounded out by the members of a group called Hard Girls and this debut full-length is their first release since a 2009 EP called Walking in Shadows. What’s evident after only a few listens of the new album is how much Classics of Love has developed over the last three years. The music and lyrics flow together seamlessly, showcasing four individuals that have grown quite adept at playing together. There’s also a definite and genuine sense of urgency found throughout the record, which is something that simply can’t be manufactured. It’s reminiscent of one of the characteristics that made Operation Ivy so great, but make no mistake, Classics of Love is indeed a unique band with its own distinct sound. Their influences include ‘80s West Coast hardcore, ska/punk and frenzied, fast-paced rock, but perhaps most impressive is the band’s ability to frame these various genres into one cohesive style. The production, courtesy of Jack Shirley, is raw and energy-packed, and really complements the songs. The lyrics speak of disenchantment, corruption of power and an opposition to various injustices, all of which are things that most can likely relate to nowadays. By all accounts, Classics of Love has made a comprehensive and highly impressive introductory album. Its songs are passionate and to the point, and in the best possible way, they leave the listener wanting more. Check out one of them below, called “Dissolve.”
Dead Ending is a new project from Jeff Dean, (All Eyes West, The Bomb) Vic Bondi, (Articles of Faith) Derek Grant, (Alkaline Trio, Suicide Machines) and Joe Principe, (Rise Against).
When bands do split records it always comes off as a bit of a competition. Despite the fact that we know the bands involved are probably all friends, it’s still fun to see them go head to head, three songs each, no holds barred. Here we have two apparently worthy Chicago bands, a funny cover concept, (The Beach Boys’ Pet Sounds take off) and some pretty, mixed grey vinyl. But, you might ask, who wins? The Sky We Scrape starts the whole thing out with “Southern Hospitality”, a mid-tempo grinder in the vein of Iron Chic or Hot Water Music. Catchy, sing-along chorus; I like it. Nice, clear, but not over-produced production too, (courtesy of Corey Wills at The Bunker). Second and third songs “Albatross” and “Fatima” add some heaviness and more intricate guitar work to the mix, but still remain catchy as hell. All in all, three very solid songs. Hawkbit, (is that a Watership Down reference?) kicks off side two with “Working in the Dungeon for the Light”, a ragged, Lawrence Arms-esque shouter with some nice bass playing. “MLK” adds some dissonance to the gang vocals, making for a more distinctive sound. In “No Folk Lies”, it seems Hawkbit saved the best for last. Kind of a Planes Mistaken For Stars/Iron Chic hybrid, catchy and driving, good stuff. So, you’re probably asking, who won, Marc? I dunno, why don’t you listen to both of the damn bands for yourself and decide? What do you think this is, The Voice?
Eastland Disaster is a new Chicago band that features singer/guitarist Dan Knapik, (Textbook, Venom Lords) singer/bassist Gina Knapik, (Venom Lords) and drummer James Farn, (Kamikaze Eyes, Duress). They’re playing this Friday, January 13th at Beat Kitchen, along with About the Mess, The Heat Tape and Dan Vapid & The Cheats. The show starts at 8:30 PM, costs $10 and is 17+. Last summer, Eastland Disaster recorded several songs with Matt Allison at Atlas Studios, some of which will appear later this year on a seven-inch for Underground Communiqué Records. Check out one of the band’s songs below, called “Still Not Over You.”
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This January Underground Communiqué Records will rerelease The Methadones’ classic 2004 album, Not Economically Viable. It was remixed by Matt Allison at Atlas Studios and basically rebuilt using various master tracks from the original recording sessions. The end result is a complete and highly favorable reproduction of one of the best pop punk records of the last decade. Also included is a previously unreleased song called “Let’s Call It a Night.” The LP will be available on three different colors; white, clear red and clear with smoke, and will feature updated album art as well. Check out the new version of “Sorry to Keep You Waiting” below.
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Last week, The Mighty Mighty Bosstones released their ninth studio album, The Magic of Youth. We spoke with singer Dicky Barrett on the day the record came out and discussed the meaning of the album’s title, its recording process and what some of the songs are about. We also talked about the band’s recent performances at Fenway Park with Dropkick Murphys, their upcoming Hometown Throwdown shows at the end of December and more. The Bosstones formed in 1983 and helped define both the ska/punk genre and the third wave ska movement. They enjoyed a considerable amount of mainstream success in the mid ‘90s before announcing a hiatus in late 2003. Four years later they reunited and have remained active ever since. Their new record is one of the strongest and most consistent Bosstones albums to date and will surely please longtime fans. Look for the band to tour as time permits and to continue supporting The Magic of Youth in 2012.
Former Groovie Ghoulies frontman Kepi Ghoulie is back with a new album titled I Bleed Rock ‘N’ Roll, his first since 2009’s Life Sentence. The album starts out with the short, sweet and defining “Rock ‘N’ Roll Shark,” which sends the strong message that like a shark that stops swimming, Kepi will die if he stops rockin’. “Nikki Lee” is a very upbeat, Chuck Berry-esque rock ‘n’ roll tune, and one of the album’s strongest. The title track reinforces the opener as Kepi sings, “I bleed rock ‘n’ roll. I believe in rock ‘n’ roll. When every single friend is gone, the music just keeps playing on and out into the universe, second verse same as the first.” To Kepi, rock ‘n’ roll is more than just a job or a passion; to him it’s a way of life. Kepi also re-recorded “When I’m Gone,” which originally appeared on his solo EP, Yes Depression. The new version is electrified and the guitar work is reminiscent of something out of a rock ‘n’ roll standard. Another revisited track is “Love to Give,” which originally appeared as “(I’ve Got) Love to Give,” on the Groovie Ghoulies’ final album in 2007, 99 Lives. There is one cover that Kepi chose for this album, and that’s Johnny Thunders’ “Blame It on Mom.” I enjoy Kepi’s cover better because he left out the saxophone. My favorite track on the album is “The Fever,” for its infectious chorus and dedicated lyrics. I’m with Kepi when he says, “What the world needs now is rock ‘n’ roll.” The album closes with a melancholy acoustic song called “Hard to Forget,” which surprised me as a closer. I wish it were toward the middle of the album, so it would serve as a break, but the album is still strong. I Bleed Rock ‘N’ Roll pleasantly surprised me. Kepi branches further from his previous material and continues to make great songs, and also revisit and put a twist on some old ones.
This fall, Cobra Skulls released their debut album for Fat Wreck Chords, titled Agitations. The band hails from Reno, Nevada and plays a unique brand of rockabilly-infused punk. Agitations is an urgent and well-rounded record, and certainly the most impressive effort thus far from Cobra Skulls. We spoke with singer/bassist Devin Peralta and discussed how the album was written and recorded, what some of its songs are about, touring and more.
In July of 2000, The Weakerthans released their second and highly-influential full-length, Left and Leaving. The following year, they played Fireside Bowl in support of the album and we spoke with singer/guitarist John K. Samson after the show. We sat outside the venue and discussed touring, the inspiration for some of his lyrics and more. Even after all these years, The Weakerthans’ shows at Fireside remain especially memorable for their unique intimacy. Here’s to hoping that they someday write new music and play shows again.Click here to view…
Noise By Numbers recently released a video for the song “Disappointed,” which comes from their latest album and Jump Start Records debut, Over Leavitt. Noise By Numbers features members of The Bomb, Dan Vapid & The Cheats, Textbook and others. Later this month they’ll release a split seven-inch with England’s The Magnificent, and it will be available on colored vinyl via Solidarity Recordings, (USA) and Drunken Sailor Records, (UK). Take a look at the video above and order the new record here.
With Borrowed Time, their third full-length and debut album for Red Scare, Nothington has crafted not only their best record yet, but also one of the top releases of 2011. Nothington’s folk-inspired tendencies are still apparent, as is their affinity for bands like Social Distortion and Leatherface, but this time around the focus is mainly on straightforward, melodic punk rock. The end result is a timeless and consistent album that’s both well written and highly listenable. After an initial spin of Borrowed Time, it’s clearly evident that Nothington is a capable band and fully aware of its strengths. There may not be much variation or experimentation on this record, but sometimes that’s okay, especially when this many solid and catchy songs are present. Each entry is built around a sturdy rhythm section, complete with inspired drumming and big bass lines. The vocals are gruff and deal with life’s various struggles, and are teamed with soaring backups and skilled guitar leads. Highlights include the road-weary tale of “Where I Can’t Be Found,” a driving, rhythmic march called “Far to Go,” the mega-anthem that is “St. Andrews Hall” and a somber tune named “Hopeless.” Borrowed Time is an energetic and detailed album that sounds great and improves with every listen. It would likely appeal to a wide range of punk fans, because this record’s combination of classic and contemporary styles should prove relevant for years to come. Check it out now and get to know one of the most promising, on the rise bands around.
At the end of this month The Fest will celebrate its tenth anniversary. The event began in 2002 and was founded by No Idea Records publicist Tony Weinbender. Weinbender was inspired by MACRoCk, (The Mid-Atlantic College Radio Conference) and upon receiving encouragement from some friends, decided to start a music festival in Gainesville, FL. Over the years The Fest has grown in both size and popularity, fueled mostly by positive word of mouth. For many attendees and performers alike, it’s considered to be a definite highpoint of the year and something never to be missed. Fest 10 promises not to disappoint, as it’s unmistakably the biggest year yet. Spanning three days, 11 venues and over 250 bands, 2011’s Fest should be a memorable occasion to say the least. Click here to view…
The Descendents don’t require much of an introduction as they’re simply one of America’s most important punk rock bands. They started in 1978 and over the years have released six albums, toured throughout the world and influenced countless bands. Last year, they began playing shows again and we spoke with singer Milo Aukerman and drummer Bill Stevenson before their recent performance at Riot Fest in Chicago. Milo joined the conversation after a few questions and we talked about their motivations for reuniting, what their shows have been like lately and what they’ve got planned for the future.Click here to view…
Recorded with Mark Michalik at Drasik Studios, (The Swellers, Much The Same, Fireworks, We Are The Union) Dying to Exonerate the World, the second effort from Chicago’s Counterpunch, is a straight-up, in-your-face affair, a no-holds-barred punk rock barrage that while more than slightly indebted to Bad Religion, still delivers with a flavor and style all its own. The disc kicks off with “Heroes and Ghosts,” an awesome, up-tempo, melodic anthem replete with chugging, chunky guitar tones and nicely harmonized vocals, and continues with the assault into the second track, “High Tide for Internal Strife,” which adds a number of interesting breakdowns to the mix. I didn’t get a lyric sheet, but from what I can gather the lyrics are for most part in the ‘personal’ vein, dealing with everyday problems: relationships, working, family, the music scene, with a strong undercurrent of concern for social issues. With track four, Counterpunch decides to mix it up. “And Everybody’s Right (Asshole)” goes for a more swinging, Fall Out Boy-type vibe, adding a horn section to mid-tempo guitars and the ever-present catchy vocal melodies. Overall, Dying to Exonerate the World would, in my opinion, please most fans of melodic punk. It’s a poppy, slightly glossy affair, but with enough grit, bite, speed and most importantly, songwriting ability, to win over even those skeptical of this subgenre of music. Check it out for yourself here.
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.
