In July of this year, The Lawrence Arms released their seventh full-length and second for Epitaph, titled Skeleton Coast. We recently spoke with singer/bassist Brendan Kelly and talked about the album in detail. We discussed how it was recorded in a remote part of Texas, as well as what inspired some of the songs and the record’s overall concept. Skeleton Coast is undeniably one of the band’s top albums and features a matured sound yet still retains their classic characteristics. In short, very few bands are able to produce a record of this quality after being together for over 20 years. Additionally, this Friday, The Lawrence Arms will continue the proud tradition of their annual War On X-Mas show. This year’s edition will be an online festival with many notable guest appearances. The show starts at 7:00 PM Central and tickets can be purchased here.
Last month, Dave Hause released a pair of new EPs. One is called Patty and features covers of Patty Griffin songs, while the other, Paddy, contains songs written by Patrick “Paddy” Costello of Dillinger Four. This review will focus solely on the Paddy EP, as I am much more familiar with the work of D4. In a few words, Hause has done a masterful job of reimagining these songs in a stripped-down, acoustic fashion. His interpretations draw the lyrics to the forefront and illustrate just how relevant Dillinger Four’s message remains after many years.
Earlier this month, The Addisons released a cover of one of Naked Raygun’s most beloved songs, “Vanilla Blue.” When Naked Raygun bassist Pierre Kezdy sadly passed away last month, The Addisons chose to put out this song, which Kezdy wrote, as a tribute to him. In terms of how they went about interpreting the song, bassist Rick Uncapher said “We really didn’t think about it too much. We just learned it, played it and recorded it pretty quick. Daisun DeRik, our old drummer, recorded it at his house in Brookfield. Tom, (singer/guitarist Tom Counihan) mixed it at his house in Aurora and Justin Perkins did the mastering at Mystery Room in Milwaukee.” He continued, “We’ve all been huge Raygun fans dating way back. Dave, (singer/guitarist Dave Lysien) and Tom’s old band, Not Rebecca, got to open for Raygun at the Riv in the early ‘90s, so we just wanted to pay tribute the best we could.” When asked about Pierre’s legacy, Uncapher added “Pierre was a really sweet guy. Super friendly, funny and humble. As a musician, we’ll remember his bass tone and his bold stage presence. And of course, we’ll remember his songs.” Check out The Addisons’ rendition of “Vanilla Blue” below and for those interested in helping out, there’s a GoFundMe campaign that was launched by Kezdy’s family.
Earlier this month, Get Dead released their first album in four years, titled Dancing with the Curse. In that time, they’ve managed to significantly reimagine their sound and create what is easily their strongest record yet. The opening track, “Disruption,” has an ominous intro with vocals that feature a spoken word/hip hop influence. Before long it segues seamlessly to ska upstrokes and an off beat rhythm. The gravelly vocals shift to a more rapid-fire delivery and then a head-bopping chorus takes over that’s boosted by more ska guitar. There’s certainly a lot going on, but it’s all blended together in a fluid manner. The end result is a fairly dark and raw interpretation of ska, not unlike Operation Ivy.
“Fire Sale” is a fast-paced, punk-leaning song with somewhat of a Swingin’ Utters vibe. It also contains a massive chorus that comes crashing through around the one-minute mark. “Confrontation” is an urgent song that takes shots at the left and the right, and talks about how divided our country is. It builds to a frantic pace before describing an active shooter scene, which is both powerful and sadly still topical. Another noteworthy entry is “Hard Times,” as it incorporates organ with a strong vocal hook. It also offers some of the album’s best guitar leads.
With the final song, “Take It,” Get Dead may have saved the best for last. It begins with a rousing intro and quickly transitions to double-time ska in the verse. A catchy bridge paves the way to a sprawling, sing-a-long chorus that hits like a tidal wave. It conveys a defiant message that urges listeners to reject what passes for normal in today’s society. In short, this is the kind of song that’s best enjoyed at full volume and simply a great way to end the record.
Dancing with the Curse sets a new benchmark for Get Dead and ushers in a new era for the band. Everything from the writing to the performances, and the production, represents a substantial step forward from their previous material. This is without a doubt one of the best punk albums of the year and one that will likely be influential for years to come.
In late August, Devon Kay & the Solutions released their latest full-length, called Limited Joy. We spoke with singer/guitarist Devon Kay and talked about the band’s new members and how they impacted the writing of this album. (Their lineup now features bassist Jake Levinson, drummer Ryan Scottie, trombone player Jacob Horn, trumpet player Ian Terry and keyboardist Joram Zbichorski). The resulting record is eclectic, a bit unconventional and does a good job of showcasing the talents of the various musicians involved. Additionally, we discussed how the album was recorded, the involvement of Mike Kennerty from The All-American Rejects, and the band’s relationship with A-F Records. We also conversed about future plans, including more new music that the band has already finished.
Laura Jane Grace released her debut solo album yesterday, called Stay Alive. Comprised of 14 songs, the record is primarily acoustic guitar and vocals, which helps to emphasize the subtleties of her songwriting. Stay Alive was recorded by Steve Albini at Electrical Audio and skillfully captures the raw emotions that Grace was experiencing during the early months of the pandemic. Take a listen to the album below and be sure to check out Grace’s livestream from Lincoln Hall on Saturday, October 17th. The show starts at 8:00 PM Central and tickets can be purchased here.
In early July, Time Thieves released their debut full-length, titled Space. We spoke with singer/guitarist Jonathan Pool and drummer Mike Oberlin and discussed how the band formed. Their lineup also includes bassist/singer Annie Saunders, guitarist/singer Tim Reynolds and keyboardist/singer Lilly Choi. In addition, we talked about how the album was written and recorded, as well as what inspired some of its songs. Time Thieves incorporate indie pop and synth-driven melodies, along with subtle Chicago punk influences, to create a sound that’s both nostalgic and contemporary. The end result is a fun, consistent record that reflects the years the band spent perfecting these songs. Be sure to give it a listen at the end of the interview.
In July, Bob Nanna, (Braid, Hey Mercedes, Lifted Bells) released a solo album called Celebration States. We recently caught up with Bob and discussed the record’s concept, which details a significant event in his personal life. We also talked about the album’s unique recording process, as it was completed in a single day. In addition, we conversed about the decision to make an all-acoustic record, his newfound partnership with New Granada Records, future plans and more.
Last month, Strike Anywhere released an EP called Nightmares of the West. It represents their first new music since 2009 and not only picks up right where they left off, but also sounds as urgent as ever. The first song, “Documentary,” is a great example of the band’s classic, melodic hardcore sound. Its chorus is led by singer Thomas Barnett and its lyrics act as a rallying cry, (“We deserve to fight for everyone / For all that we’ve lost, for all that we are”). The next entry, “Dress the Wounds,” is aggressive and fast-paced, and its precision tempo stops and starts on a dime. “The Bells” is the most melodic song on the EP and features catchy guitar leads that are interwoven with the vocal melodies. Its lyrics talk of revolution and really couldn’t be more relevant, (“No one forgets / No one remembers at all / Till monuments fall”). “Imperium of Waste” opens with a riff that complements the lead vocals and slowly builds in intensity. The rest of the band comes crashing in after a couple measures and sounds nothing short of supercharged. The virtual wall of vocals in the chorus is both powerful and inspiring, resulting in what is likely the record’s most memorable moment. Nightmares of the West takes what Strike Anywhere does best and adds subtle contemporary influences. It also manages to capture the immense energy of their live shows, which is no easy feat. Hopefully the wait won’t be too long before they’re back with a new full-length.
This fall, Chicago’s The Webstirs will release their sixth full-length. The self-titled album was produced by longtime collaborator Matt Allison and finds the band continuing to develop their signature indie-pop sound. The Webstirs were formed in 1994 by Preston Pisellini and Mark Winkler. Their lineup also includes drummer Jordan Kozer, and newest members Gregg Juhlin, (bass) and Doug Bobenhouse, (guitar/vocals). Bobenhouse contributed with some of the songwriting on this record, which added a new dimension and helped to further evolve their sound. Check out the video for the first single below, called “Fiction,” and look for the album to be released in the coming months.
Earlier this month, Broadway Calls released their fourth album and first for Red Scare, called Sad in the City. Despite it being over seven years since their last full-length came out, it doesn’t sound like they ever took a significant break. Rather, they seem nothing short of revitalized on this record. The first song, “Never Take Us Alive,” opens with the line “If my country collapses, can I crash on your couch?” This really sets the tone for the rest of the album, as many of the lyrics address the chaos and uncertainties of 2020. The song also features a defiant message and a huge chorus, making it an appropriate opening track.
The second entry, “You Gotta Know,” is exceptionally catchy, with big vocal hooks and buzzing power chords. It also has a spacey, instrumental breakdown in the middle that slowly builds in intensity before revisiting the chorus one last time. It then transitions directly into the title track, which begins with a melodic bass lead and lyrics that speak of wealth inequality. It truly describes what it feels like to be persevering through this year and culminates in the following words: “Will we ever get by again? Will we ever get high again? Do you even want to try again?” This song certainly encompasses the overall vibe and it’s fitting that the record is named after it.
“Always on the Run” is a straightforward pop punk song, but the band is able to make it sound fresh and spirited. It also contains a super-catchy vocal melody that’s reminiscent of The Ramones. “Meet Me on the Moon” is a concise love song and another definite highlight. It talks of escapism and dreams of a better reality, and that will likely be highly relatable to a majority of listeners. The album concludes with “Went Dyin’,” a slower, atmospheric entry that employs unconventional rhythms to create a unique style. Its words acknowledge all the negativity in today’s world, but refuse to give in and allow it to be a defining characteristic. Without question, conveying a resilient message such as this is a great way to end the record.
Sad in the City is solid throughout and lyrically speaking, really captures this moment in time. Its recording is clear, but not too polished and accurately depicts what the band sounds like in a live setting. In short, fans of melodic punk will find just about everything they’re looking for on this album.
In June, The Chinkees released a four-song EP, marking their first new material since 2002. We spoke with singer Mike Park, (Asian Man Records founder, member of The Bruce Lee Band / Ogikubo Station) and talked about how the EP was recorded and what inspired some of its lyrics. We also addressed the band’s name, which of course is not meant to be offensive, but rather draw attention to the existence of racism. Additionally, we discussed the Black Lives Matter movement, the current political climate in the U.S. and more.
Earlier today, Riot Fest announced their first wave lineup for 2021. With the festival postponed this year due to the current pandemic, organizers are already looking ahead to next year. My Chemical Romance, Smashing Pumpkins, Run The Jewels, Pixies, Circle Jerks, Jawbox and Les Savy Fav are the headliners that have been disclosed so far. Next year’s lineup will also include L7, Pup, Big Freedia, Fucked Up and many others. Tickets are on sale now and can be purchased here. Stay tuned for additional announcements in the coming months.
Last month, Fake Names released their debut full-length via Epitaph. The band’s lineup features Dennis Lyxzén, (Refused, International Noise Conspiracy) Brian Baker, (Bad Religion, Minor Threat) Johnny Temple, (Girls Against Boys) and Michael Hampton, (S.O.A.). While many will be quick to label them a supergroup, what’s different about Fake Names is that its members share a natural chemistry and their songwriting doesn’t seem forced. One of the first entries that stands out is “Being Them,” as it combines old school punk with contemporary influences. It also features a sprawling chorus and lyrics that champion free thought and oppose conforming to society’s standards. “Brick” begins with a fiery riff and an aggressive verse before a hyper-melodic chorus emerges unexpectedly. Its lyrics are rather timely in that they talk of revolution, (“You will fall like never before / Statues crumble, backs against the wall / You will pay for what you’ve done / Gonna destroy what you’ve become”). Despite clocking in at under two minutes, it’s easily one of the album’s most memorable songs.
“First Everlasting” spotlights the range and command of Lyxzén’s voice and includes a sing-a-long chorus that’s reinforced with multiple backing vocals. “This Is Nothing” embraces more of a post-punk style, with a plodding verse and a distorted bass lead. Its words provide a critique of consumerism and denounce the shallow aspects of today’s culture. The record ends on “Lost Cause,” an overtly catchy song with a driving beat and prominent melodic guitar leads. It concludes the album on a fitting note, with a positive message of not giving up and holding true to one’s beliefs.
Without question, this is a concise and solid debut. Its overall theme of questioning longstanding institutions and societal norms is extremely appropriate right now. Here’s to hoping there’s more to come from Fake Names and that this record is not just a one-off experiment.
In late April, Sharkanoid released their second album, titled Deathbox. The band’s primary members are singer/guitarist Dan Potthast, (MU330) and singer/bassist Rick Johnson, (Mustard Plug). Several other musicians also appeared on Deathbox, including drummer Ted Moll, (MU330). We recently spoke with Potthast and talked about the collaboration process for this record. We also discussed the inspiration for some of the songs and how the current political climate was a major influence. Additionally, we conversed about the album’s title, how the pandemic is impacting the band’s future plans and more.
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.
