Today, Dan Vapid and the Cheats released their fourth full-length, called Escape Velocity. They continue to build upon the groundwork that was laid on their previous album, this time taking it a step further with their willingness to explore new stylistic territory. At the same time, they’re able to do so while still preserving the core sound that fans have come to appreciate. Additionally, singer/guitarist Dan Vapid’s songwriting proficiencies remain in top form, while the other band members, (guitarist/singer Simon Lamb, bassist/singer Dillon Dunnagan, and drummer/singer Gabe Usery) provide significant contributions throughout, which really helps to solidify Escape Velocity as a complete record. We recently spoke with Vapid and talked about the album’s unique recording process and about what inspired its overall concept. We also discussed Vapid’s feelings regarding playing shows during this stage of the pandemic, how the band is already planning on returning to the studio and more.

In July of last year, The Reaganomics singer/guitarist Terry Morrow began writing a musical as he found himself in need of an artistic outlet during the pandemic. After revisiting a short story called “The Lottery” by Shirley Jackson, Morrow started pairing various musical concepts with themes from the story. In regards to his motivations for doing so, Morrow explained “The current state of ‘things’ in our country got me thinking about rituals, and how we as a society do a lot of swallowing of ritual, rarely questioning or considering why we do the things we do. We do a lot of things because ‘that’s just the way it is.’ Ritual is engrained in all of us and I’m fascinated by it. People are born and grow up in a culture that is capable of harvesting growth and beauty, but also ignorance and evil. The 2020 election, George Floyd, quarantine…it all left me feeling a lot of anxiety and unrest, and I wanted to channel it into something creative and expressive.”

After outlining the project and making several demos on his computer, Morrow’s next step was to collaborate with other musicians. It was at this point that the musical really began to take shape. “In the beginning, it felt like a typical demo that very well could never see the light of day. Then Erica Marfo was kind enough to sing ‘Nowheretown.’ She emailed her track to me since we were both in quarantine and stuck at home,” Morrow said. He continued, “Hearing a talent like Erica take my song and elevate it the way she did really gave it life and inspired me to keep pushing. It also felt validating to hear a melody I wrote being performed by someone else. I actually felt like I was listening to a musical, which was previously uncharted territory for me as a songwriter.”

Upon completion of the musical, Morrow selected “Nowheretown” as the first song to be released. In terms of his reasoning for choosing it, he said “From the first hits of the song, you feel the anticipation and the energy, and by the time the choir welcomes Erica’s lead vocal, you’re on the train and it doesn’t stop. It’s definitely one of the happier and rocking songs in a show that otherwise gets very deep and very dark. Also, it lets the listener know that the main character, Tessie, as played by Erica, has a hankering to get out of town and pursue a more fulfilling life.”

Check out “Nowheretown” below and be sure to grab tickets for the debut of Ritual in early 2022. It’s scheduled to take place on February 18th and 19th at Reggie’s Bananna’s Comedy Shack and tickets can be purchased here and here.

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.

Earlier this month, Naked Raygun released their first album in over 30 years, titled Over the Overlords. We spoke with guitarist Bill Stephens and talked about the record’s writing process, which spanned several years. We also discussed what it was like recording at Transient Sound with producer Steve Gillis. Over the Overlords is a decidedly comprehensive album that employs a variety of influences, yet maintains a sense of cohesion throughout. Simply put, it retains the urgency of their early work and stands on equal ground with their most beloved records. Additionally, we conversed about their longtime bassist Pierre Kezdy, who sadly passed away from cancer in October of 2020. We addressed the various contributions that Kezdy made to the album, as well as what inspired some of the songs, their plans for future shows and more.

This fall, Sincere Engineer will release their second full-length and first for Hopeless Records, called Bless My Psyche. We recently spoke with singer/guitarist Deanna Belos and talked about how the album was written and recorded. Compared to its predecessor, Bless My Psyche features increased contributions from Belos’s bandmates, resulting in more of a collaborative and diverse sound. The group’s lineup is rounded out by Kyle Geib, (guitar/backing vocals) Nick Arvanitis, (bass/backing vocals) and Adam Beck, (drums/backing vocals). Also of note is the continued development of Belos’s songwriting, which is prevalent throughout Bless My Psyche. Additionally, we conversed about the album’s general theme, the band’s move to Hopeless Records, their plans for the rest of the year and more.

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.

This Friday, Mike Lust will release his debut solo album, Demented Wings. Lust is both the frontman for Tight Phantomz and an accomplished producer, having produced or engineered albums by Urge Overkill, William Elliott Whitmore, Joan of Arc, Russian Circles and others. While Lust had been contemplating the idea of making a solo record for years, it wasn’t until the onset of the pandemic last spring that he discovered a newfound motivation. He explained, “I started what became the songs on this record maybe four years ago. I was making some good strides with them until my brother passed away. That just kind of took the wind out of my sails for a little while, as it would with anyone who loses someone close to them. When the pandemic hit last March, I thought it was as good a time as any to pick it back up. I started to quarantine at my studio, basically going up there all day, every day, and going home only to sleep. Before long, I could start to see what the arc of the record was going to be and just took it from there.”

The resulting full-length features a total of ten songs, which include an array of eclectic influences that ultimately come together to form a singular vision. Such characteristics are plainly evident in the album’s first single, “Danceteria.” When asked about the accompanying video for this song and where its concept came from, Lust said “The idea for the video came little by little until it was finally shot. I was watching a lot of Twilight Zone. It actually started with the idea of what happens in the dark when no one’s watching. In the small hours. Do the mannequins come to life? Do the animals take over the museum? That sort of thing. The idea evolved into what we finally have when we decided to shoot it at the Empty Bottle, which was the idea of the video’s director, Brendan Leonard. That feeling of the world being in suspended animation. All it took was a song to bring it back. That sounds kinda corny, so it needed to have a little eeriness to it. Some sadness. I’m actually quite proud of it, even if I don’t actually know what it’s supposed to mean.”

In regards to what he has planned to support Demented Wings, Lust detailed several of his goals. He said, “I do know that I want this record to reach as many people as it can. I guess putting together a band to perform this music is the first step. Playing live. I definitely enjoy the process of making videos and I do believe they are effective in getting the music across with some imagery, so more of that. I really just hope that this record affords me the chance to keep making music and that there’s an audience and an outlet for what I do. To help me build the momentum to keep doing this with some frequency, because there are so many more songs in the can.” Check out the video for “Danceteria” below and pre-order the album via Forge Again Records here.

Red Scare – Release Date: 4/23/21

Last month, Sam Russo released a surprise EP via Red Scare, called Refuse to Lose. With his previous full-length, Back to the Party, being released in March of 2020, Russo wanted to show his appreciation for everyone who listened to the album during the pandemic. So, he recorded these three songs, all of which are full band interpretations of tracks from Back to the Party. In addition to Russo, the lineup on this EP consists of Chris Stockings on guitar, Garth Vickers on drums, and Alkaline Trio bassist Dan Andriano.

The first entry is an energetic rendition of “The Window.” Despite the added instrumentation, Russo’s voice is still the most prominent element and his assured vocals pave the way during the anthemic chorus. The rest of the band provides a spirited and lively arrangement, elevating a song that was already great and making it even better. “The Basement” is a solemn, introspective number that’s reminiscent of early 2000s emo. Its lyrics are especially personal and read almost like a confessional as Russo reflects on an impactful relationship from the past. The rhythm section really shines on this track, delivering a multitude of unique tempos that keep things interesting throughout. The final song, “Young Heroes,” is upbeat and undeniably catchy, but the earnest nature of Russo’s songwriting is still retained. The song fittingly builds to a rousing sing-a-long and in the best possible way, leaves the listener wanting more.

Refuse to Lose demonstrates the quality of Russo’s songs, as they’re equally enjoyable in either a solo acoustic style or with a full band. Given how well this EP came together, it should be interesting to see what direction Russo opts for on his next release. Until then, those that have yet to sample his two most recent offerings should definitely take this opportunity to do so.

In late March, Kali Masi released their second full-length, titled [laughs]. The album represents a major step forward for the band and showcases the significant growth they’ve experienced since the release of their last record. We recently caught up with singer/guitarist Sam Porter and bassist Anthony Elliott and discussed how the album was written and recorded. (The band’s lineup is fortified by guitarist Wes Moore and drummer John Garrison). We also talked about what inspired some of the lyrics, the record’s overall message, their plans for the rest of the year and more.

Last month, Hanalei released its first full-length in over a decade, entitled Black Snow. We spoke with singer/guitarist Brian Moss, (The Ghost, Great Apes) and talked about what inspired the creation of this album. Upon learning that he was going to be a first-time father, Moss felt compelled to begin writing as a means to deal with the fears of bringing a child into such a turbulent world. We addressed his concerns regarding climate change, income inequality, social media and more, and how these topics influenced the lyrics on this record. Additionally, we discussed how the album was recorded, the overall style of its songs, what Moss has planned for the future of Hanalei and more.

Sell The Heart Records – Release Date: 3/5/21

Earlier this month, Decent Criminal released a three-song single, called DC/EP. These songs represent a noticeable shift for the band, as they’ve embraced new influences and further developed their songwriting. The first song, “Drifter,” begins with a hazy, atmospheric intro. Its verse exudes ‘90s alternative and segues to a quiet bridge before the chorus comes crashing in at full volume. The head-bopping hook is extremely infectious and likely to be stuck in listeners’ heads for days. “Reap” is a super-catchy entry with a modern Motown vibe. The inventive bass playing is the most prominent aspect of this song and it takes the lead during the chorus. Here, the bass lines bob and weave around the vocals, creating a unique melody and an especially distinctive sound. “Bizarre” is a no-frills banger, mixing power pop with classic rock ‘n’ roll tendencies. Despite being just over two minutes long, they manage to include a lot of impressive subtleties in a short amount of time. On DC/EP, Decent Criminal sounds like a band who’s ascending to a new level. With each of these tracks, it’s clear that the members are working together and doing what’s best for the song, rather than trying to be flashy. It’s that sort of unselfishness that lends itself to great songwriting. If this is any indication of what to expect from their next full-length, then fans should start to anticipate something special.

In November of last year, Missouri power trio Radkey released their latest full-length, Green Room. We recently spoke with bassist Isaiah Radke and discussed how they went about writing and recording the album. Green Room is an outstanding example of the band’s ability to advance their songwriting and incorporate a multitude of new influences. The end result is arguably their most varied, yet consistent record to date. Additionally, we talked about what it was like to put out an album during the pandemic, how they plan on staying connected with fans while they can’t play shows and more.

Next month, Milwaukee’s Devils Teeth will release their second full-length, called La leggenda di Chong Li. The album was self-recorded, primarily in a barn that was converted into an art space, resulting in a unique sonic signature. On this record, the band continues to advance their distinctive brand of rock ‘n’ roll, which incorporates elements of punk, surf, garage and more. Devils Teeth’s lineup consists of guitarist/vocalist Jon Hanusa, bassist/vocalist Eric Arsnow, percussionist/drummer Chuck Engel, and saxophonist Caleb Westphal. Check out the video for the album’s first single below and pre-order the record via Triple Eye Industries here.

Chunksaah Records – Release Date: 3/12/21

Next month, Ship Thieves will release their fourth album, called Irruption. The band is fronted by Hot Water Music singer/guitarist Chris Wollard and also features members of Samiam and The Enablers. Irruption is their first full-length since 2016 and represents their most focused and cohesive material yet. The record charges out of the gate with “The Embers of Enlightenment,” a streamlined and urgent rocker that finds the Ship Thieves operating at peak efficiency. Wollard’s vocals sound authoritative and the accompanying “whoa-oh-oh” backing vocals are perfectly placed. It’s a great song to open the album with and just plain kicks ass. “Ghost Town” is dissonant and somewhat moody, and features impressive bass work that really drives the song. It also offers an interesting contrast of a speedy rhythm with a more relaxed vocal pace. “Tangled Net” has a prominent rock ‘n’ roll influence, with an underlying punk rock foundation. It boasts a rousing sing-a-along in the middle section that’s easily one of the best moments on the record. “Virulent Man” also bears mentioning, as it recalls early Foo Fighters and contains an exceptional guitar solo. Irruption plays like a complete work as its songs are interwoven and tell an overall story. The production, courtesy of Ryan Williams, is spot-on and really elevates the songs as well. Hopefully the band will have an opportunity to play them in a live setting later this year, assuming it’s safe to do so, because these songs are tailor-made for a loud and rowdy club show.

Dine Alone Records – Release Date: 1/01/21

In early January, The Dirty Nil released their third full-length, titled F*** Art. Every aspect of this album, from the writing to the performances, as well as the production, represents a significant step forward for the band. The first song, “Doom Boy,” opens with an aggressive thrash metal intro, while singer/guitarist Luke Bentham’s commanding vocals anchor the verse. Palm-muted chords in the bridge lead the way to a sprawling chorus, which is underscored by tongue-in-cheek lyrics. The fact that the band doesn’t take itself too seriously makes the song that much better. “Done with Drugs” is another prominent entry and features a catchy power pop vibe. It boasts hook after hook in its chorus and its lyrics seem like somewhat of a commentary. They compare those who talk about making changes versus those that simply do so and quietly go about their business. It’s undeniably one of the strongest songs that they’ve written thus far.

“Hello Jealousy” enjoys power chords aplenty and is one of the most punk-leaning songs on the album, while “Possession” is reminiscent of ‘80s metal and includes a defiant, attitude-filled chorus. The record’s final song, “One More and the Bill,” is a suitable song to end with in that it brings together many of the reoccurring lyrical themes. A portion of its words include the following: “Gonna smash my TV / Smash my phone / Leave politics alone / Go outside for a while,” which is a feeling that many will find highly relatable nowadays. There’s also some eye-popping guitar shredding that’s present around the middle portion of this song that bears mentioning. As much as F*** Art signifies a new plateau for the band, it doesn’t seem as though they’re anywhere near their ceiling. They continue to evolve their own irreverent brand of rock ‘n’ roll and show no sign of altering from that trajectory anytime soon.