In early February, The Blind Staggers released their latest album, Doing Alright… Considering. We’re premiering the video for one of the record’s songs above, called “Party Friends.” When addressing the video’s concept, singer Laura Zielinski said “We were all just missing getting together, having band practice and playing shows. We wanted to do something fun while we are all stuck at home on lockdown and get a few good laughs in.” Within weeks of the album’s release, the current pandemic began to take shape and the band’s touring plans had to be shelved. In spite of this, guitarist/singer Damien Christian Wilburn remains optimistic, explaining “I’m stoked that we were all able to shoot this from our homes and create something while not being able to get together in person. Everything is very heavy right now. If you’re not stressed, you’re at least bored. We just hoped to entertain some people and maybe make some folks smile.”
In many ways, the song “Party Friends” is representative of the album as a whole. “It sums up what this record is about for me,” Wilburn said. “There were a lot of personal things going on within the band during the writing of this album. Laura and Tony, (guitarist Tony Lee) got married and moved to Denver. I had quit drinking and working at the bar I called home for ten years. So, there was a lot of uncertainty. Change was coming, but there was a strong desire to hold on to what matters – good times with good friends.” Zielinski added, “It seemed like a fitting tune for the time and for us as a band right now. We’re all getting older and priorities are changing, but that doesn’t mean we don’t know how to have a good time. Because believe me, we do. And that’s a lot of what this new album is about.”
Compared to their previous work, Doing Alright… Considering is arguably The Blind Staggers’ strongest material to date. “We feel it’s the best record we’ve put out. We’ve grown as band and as musicians over the last ten years. This record leans much more rock ‘n’ roll than it does country/Americana, which was a conscious choice as much as a natural progression,” Wilburn said. He continued, “We decided that we can basically write whatever we want because it will always sound like ‘us,’ so everything became more open. Lyrically it’s very much in the same vein as our previous albums. It’s still about dealing with our lives and the choices we’ve made, for better or worse. We’re just the people sitting next to you at the bar with a couple stories to tell. Always have been.” Check out the video for “Party Friends” above and visit Bandcamp to purchase the album.
Solo folk/punker Sam Russo returns with his third full-length, Back to the Party, from Red Scare Industries. It’s been five years since we’ve heard new music from Sam and the title has me wondering if it’s a double entendre. Is this a return or does he have his back turned? Eagerly listening, Russo introduces himself gradually, with a somber cello at first, a building electric guitar and then switches to his trusty rhythmic acoustic chords. He contends with his own stagnation and breaks through his familiar parameters to reach for something more. But it isn’t always easy or feasible, and “The Window” successfully conveys this. It is only appropriate that this melodic song, laden with hooks, is the album’s highlighted single via music video.
Russo visits familiar motifs to his songwriting such as reconciliation and leaving, in “Good and Gone.” At his August 29th show at the GMan Tavern in Chicago, he laughingly clarified that the line, “and you can tell Ray I said fuck you / He can stick his job up his ass,” is not in fact about Ray Carlisle from Teenage Bottlerocket. His sincerity is cut with a crass brazenness, making sure the most serious of songs remain unpretentious and honest. “Darkness” serves as something of an interlude; the album’s shortest song with no chorus. Almost dreamlike, Russo laments in solitude, but not just physically. Rather, he recalls drowning as your friends surround you, and none of them notice. This is a sobering track of solemnity; evocative and deeply personal.
I believe one of the greatest songwriting talents a musician is capable of is the ability to vividly walk the listener through a lived scenario, so that we may experience it with every bit of detail as they did. Russo surrenders to that honest candor and achieves this. In “Anne,” the protagonist takes off on a train and the listener is taken on a lonesome, teary-eyed walk up the station’s stairs, feeling the freezing weather and chilling winds – a complement to the profoundly emotional lyrics. Who the hell is she? The second single is the album’s closer, “The Basement.” Russo ebbs and flows as he emotes, trading off between softly and loudly, and channeling a pop punk energy thus far unique to his songwriting style.
Back to the Party is an empath’s breath of fresh air. Russo delves deep into himself and does not wrap it up with a bow. Alas, I’m left wondering about the double entendre.
In late March, Nos Da released their self-titled debut album via Recess Records. The band’s lineup is comprised of singer/guitarist Isaac Thotz, (The Arrivals/Treasure Fleet) bassist/singer Jamie Morrison, (Pale Angels) and drummer Mike “Jimmy” Felix, (Toys That Kill). Since making the record, they’ve added Victoria Yarnish on Moog and Jacob Gaxiola on guitar. We recently caught up with Thotz and talked about how the band got together and how the album was made. We also discussed what some of the songs are about, their tentative plans for the future and more.
Last month, Chicago’s PEEL released their fourth album, called No Pain. They also recently debuted a video for one of the record’s songs, “Ballad of Dougie Ramone.” In terms of the video’s concept, the band drew inspiration from British television shows like The Old Grey Whistle Test and Top of the Pops. When asked about his thoughts as to how the video turned out, singer/guitarist Kyle Hickey said “The video is a pretty accurate portrayal of catching a bit of one of our shows, but from a safe distance like behind the splash wall at Sea World.”
PEEL recorded No Pain at Jamdek Recording Studio with Doug Malone, where they also made their last album. When speaking about their experience in the studio, singer/guitarist Pete Mueller said “We tracked all the songs in a day and a half, did most of the lead vocals the last half of the second day and then the third day, as I remember it, was just getting drunk and laying down auxiliary percussion, guitar solo harmonies, screams and feedback.” He continued, “We usually work pretty fast and this album was no different. Doug has a super laid-back attitude, which extends to his studio and it made working on this album a goddamn delight.”
Compared to their previous work, No Pain is likely PEEL’s fastest record yet. It also illustrates the band’s relaxed approach. “I think this is the album where we let go of whatever final shred of caring was left in us. And I mean that in a good way. If we thought of something funny in the studio to do on a song, we just did it to make each other laugh, and most of that ended up on the album,” Mueller said. Check out the video for “Ballad of Dougie Ramone” above and listen to No Pain in its entirety below.
In February, Airstream Futures released their second album, titled Le Feu Et Le Sable. We recently conducted a phone interview with singer Devon Carson and guitarist Jeff Dean. (The band’s lineup also consists of drummer Mike Soucy and bassist Katie Karpowicz). We talked about how the album was written and recorded, what some of its songs are about and the meaning behind its title. The record demonstrates the band’s ability to further sharpen their sound, which incorporates elements of punk, indie rock and alternative, as well as a touch of added aggression. We also discussed the band’s future, including how they plan to navigate these uncertain times.
Earlier this month, The Addisons released their latest EP, called 100% Familiar. It was recorded by Jeff Dean at Million Yen Studios and mastered by Justin Perkins, and contains a total of five songs. When asked about the writing process for this record, singer/guitarist Tom Counihan said, “These songs are the first that we worked out with our new drummer Jessie, (Carmona). I think he had a big effect on the way they ended up sounding. Dave, (singer/guitarist Dave Lysien) and I write the initial ideas separately, but once we bring songs into the band, we all contribute to working out arrangements, bridges, etc.”
When comparing 100% Familiar to the band’s previous material, Counihan said “I think we tried to challenge ourselves a little more on this release. While we were getting ready to record, we spent a lot of time kind of dissecting the songs and trying to be more purposeful about each part.” Bassist Rick Uncapher added, “It’s definitely in the same vein as what we’ve been doing, but I think we tried to change it up a bit to keep things interesting. It’s probably subtle, but there are a lot of guitar effects, keyboards, background vocals and added percussion that we did to fill out the songs.” Check out the EP below and head to Bandcamp to buy a copy.
In February of this year, Chicago trio Mammals released their latest single, titled Look Around You. The record demonstrates the band’s ability to continually evolve their sound and develop their shared musical chemistry. The title track is up first and it begins with an extended instrumental intro. A modern garage rock vibe takes shape during the verse before transitioning to an upbeat, driving chorus. Its lyrics talk about trying to be present in the moment and the song appropriately concludes with the band rocking out. The next entry, “In the Darkness,” features a power pop intro that quickly shifts to a moody verse with echoed vocals. The tone of its lyrics complements the spooky style of music and there’s a definite influence of ‘60s rock ‘n’ roll too. The song represents a stylistic curveball that’s unexpected yet certainly effective. For the third and final track, “Expanding Heart,” Mammals likely saved the best for last. It’s a fast paced, punk-leaning tune with a distinctive vocal melody in the chorus. The drumming involves various imaginative rhythms and there’s a noteworthy bass solo towards the midway point. The song demands repeat listens and leaves the listener wanting more, which frankly is how it should be. Look Around You not only shows a lot of promise, but also contains what are arguably the band’s best songs yet. Take a listen to the EP below and grab a copy via Bandcamp.
Last Friday, The Suicide Machines released their first album in 15 years and first for Fat Wreck Chords, called Revolution Spring. The band originally disbanded in 2006, but got back together in 2009 and have been playing shows sporadically ever since. They waited until they found the right inspiration to start writing songs and their patience more than paid off, as this record is easily among the best in their entire catalog. The first track, “Bully in Blue,” is an ideal album opener in that it’s highly energetic and contains thought-provoking lyrics. It spotlights the hyper-speed bass skills of Rich Tschirhart, while addressing white privilege and police brutality. It also challenges the listener to possibly think about this topic from a different perspective. The second entry, “Awkward Always,” changes gears and features a strong ska influence. It includes clean guitar upstrokes and an off beat rhythm, and highlights the creative subtleties of drummer Ryan Vandeberghe. The song looks back on the past and recognizes that some feelings still hold true after many years.
Another definite highpoint is “Trapped in a Bomb,” which talks about a dear friend who passed away unexpectedly. The bass takes the lead during the verse and paves the way to an urgent chorus, (“I will bring you whiskey in the winter and flowers in the spring”). The song represents arguably the best vocal performance from singer Jason Navarro, with the raw emotion clearly evident in his voice. “Simple” is an uplifting sing-a-long that sounds especially relevant in times like these. It also witnesses guitarist Justin Malek put on a clinic and deliver loads of impressive guitar leads. The album concludes with “Cheers to Ya,” a classic blast of ska-punk that incorporates a horn section to provide melody over distorted power chords. The song has a pogo-inducing chorus and an overall reflective tone, which is a fitting way to end the record.
Revolution Spring takes elements from all of The Suicide Machines’ previous albums and adds contemporary touches. Its lyrics are very much in the moment and tackle some dark topics, but there’s a distinct sense of optimism that shines through. Additionally, producer Roger Lima, (singer/bassist from Less Than Jake) did an outstanding job of bringing these songs to life and really capturing the energy of their live shows. In short, this is one hell of a comeback album that finds the band sounding as though they never missed a beat.
Last week, Alkaline Trio released a new, three-song single, titled E.P. It was supposed to coincide with the start of a tour with Bad Religion, but with the shows postponed till fall, the band chose to go forward with the initial release date for these songs. The first entry, “Minds Like Minefields,” is led by singer/guitarist Matt Skiba and begins with ominous, echoed vocals. A rhythmic verse soon emerges, not unlike the style of their 1999 EP, I Lied My Face Off. It quickly pivots to a double-time chorus before eventually landing at an instrumental interlude. This section features ghostly backing vocals and sparse piano accents, and ultimately returns to the breakneck pace of the chorus. Overall, it’s not a typical song structure, but it illustrates how the band is freely exploring new territories and seemingly having a lot of fun while doing so.
Singer/bassist Dan Andriano takes the lead on the next song, “Radio Violence,” which sounds like a natural progression from his most recent solo LP, Party Adjacent. It finds him singing over relaxed, melodic guitar leads that easily transition to a driving chorus with layered backing vocals. It’s concisely-written and includes lyrics that talk about persevering through a tough situation, and clearly that’s something most everyone can relate to nowadays. The third and final song, “Smokestack,” is entirely acoustic and also sung by Andriano. It’s reminiscent of Tuesday, his band prior to Alkaline Trio, with lyrics that look back on his teenage years, (“Do you really believe that didn’t mean anything? / Do you really believe those days didn’t mean a thing? / Cause I’m still believing that means everything / Do you really believe those days didn’t mean a thing? / Cause I sure don’t / You made my life / You changed my life”). There’s a definite beauty in the straightforwardness of these words, which helps to make the song instantly memorable after just one listen.
With E.P., Alkaline Trio is continuing on the trajectory they’ve established since the release of their excellent and most recent full-length, Is This Thing Cursed? These three songs harken back to the band’s roots, recalling a time when they embraced more spontaneity and a carefree attitude. If E.P. is any indication as to where Alkaline Trio is headed with their next album, then fans should absolutely be excited.
Earlier this month, The Bombpops released their second full-length on Fat Wreck Chords, called Death in Venice Beach. It finds the band taking a noticeable step forward, both in terms of the songwriting and their performances. One of the early highlights is “Zero Remorse,” which features dark imagery in its lyrics and is somewhat reminiscent of Crimson-era Alkaline Trio. It also offers a unique vocal melody during its chorus and subtle intricacies with the bass lines and drum fills. “Notre Dame” begins with a cool bass intro before segueing to some classic West Coast punk stylings. Its lyrics talk of loss and moving on, a theme that reoccurs throughout the album. “Sad to Me” has a definite Letters to Cleo vibe and is arguably the catchiest song on the record. Its highpoint comes near the end, where it quiets to just vocals and drums before the rest of the band joins in to power through the chorus one last time. In short, it’s a perfect summertime pop song.
“Can’t Come Clean” is an upbeat, punk-leaning track, complete with buzzsaw guitars and impressive vocal harmonies. It also includes a brief keyboard part that recalls Bark Like a Dog-era Screeching Weasel. “13 Stories Down” is a total sing-a-long that somehow manages to teleport the listener directly to a beach on the Pacific Ocean. It boasts a galloping beat, great melodic guitar work and even a dash of humor, (“I’m not an alcoholic, I just play one on the weekends”). “Radio Silence” is filled with hooks and incorporates some doo-wop backing vocals, while album closer “Southbound Stranger” charges out of the gate with a rhythm like a runaway train. In fitting fashion, its lyrics speak of an unknown future, but also accepting the uncertainly that lies ahead.
A variety of influences are displayed throughout Death in Venice Beach, but The Bombpops manage to bring them all together and create a distinctive style. Additionally, the record sounds phenomenal, thanks to the collaboration of producers Yotam Ben Horin, (Useless ID) Fat Mike, (NOFX) and Chris Fogal, (The Gamits). Not only is this a solid album with many strong songs, it’s also exceptionally catchy and proof that The Bombpops are definitely a band on the rise.
We’re thrilled to announce that The Methadones will be playing their first hometown show in nearly five years this summer. Since initially disbanding in 2010, the band has only played twice, (an abbreviated set in 2011 and at Red Scare’s tenth anniversary show in 2015). After forming in 1993, they went on to release five studio albums, a split record with The Copyrights and finally a compilation album in 2010 that contained all the songs from their various singles, (as well as the final five songs they ever recorded). While often labeled as pop punk, The Methadones’ sound was truly a lot more multi-dimensional. Elements of classic Chicago punk and power pop were often present, along with an emphasis on vocal melodies, intricate guitar leads and introspective lyrics. In short, very few bands hold up this well over time. The band has yet to reveal any details as to their planned setlist, but rest assured that they’ll deliver a career-spanning set. The Methadones will play Chop Shop on Saturday, June 27th with support from Direct Hit!, Dan Vapid and The Cheats, and Capgun Heroes. The show starts at 7:00 PM, is 18+ and tickets go on sale this Friday.
In January, Anti-Flag released their twelfth studio album, titled 20/20 Vision. Compared to their previous full-lengths, this record is unique in that it directly addresses the current president. In the past they’ve favored a less specified approach, as the topics they write about often reoccur throughout different administrations. However, given today’s unprecedented political climate, it’s easy to understand why they chose this route.
In 2014, James VanOsdol started the Car Con Carne Podcast with his friend Mike Bratton. The initial concept was to record a podcast inside various barbeque restaurants, but the pair quickly realized that due to the background noise that’s often present in such locations, this idea wouldn’t be possible. With Bratton being a professional voiceover artist, he suggested recording in a car, as that’s where he would often record an audition or a demo if he was away from his home studio. Bratton indicated that the inside of a car is relatively soundproof, and that all he needed was his laptop and microphone to make a recording. With this realization, Car Con Carne was born.
Last month, The Reaganomics released their first album since 2011 and second for Red Scare, called The Aging Punk. The band is known for their humorous lyrics and proficient musicianship, and both of these traits are found in abundance on this record. The first song, “The Four Clichés,” pokes fun at many of the current trends in the punk rock community, (“I wanna write a good punk song this year / I need to find out what is hip / If I want to write a punk song this year / I better start with the generic shit”). It features dueling melodic guitar leads in its closing minute and also finds the band directing their humor inward, proving they don’t take themselves too seriously. “Dear Jaymez,” as in James Hetfield, is an ode to Metallica that many longtime metal fans are sure to relate to. It mocks some of the group’s flawed albums like Reload and St. Anger, and also boasts a lightning-fast, intricate guitar solo that would likely make Kirk Hammett proud. The song even manages to end with a thrashy outro that recalls the stylings of Metallica’s classic first four records. “Grown Ass Man” is one of album’s funniest tracks, addressing midlife crisis with a menacing bass line and an old school punk vibe. The song just might be all too applicable for those who prefer standing in the back during shows, (“I’m busting out of my jeans / My hairline recedes / There’s a growth on my back and a crick in my knees”). Another notable entry is “Summer Maiden,” which tells the tale of a group of friends who go to see Iron Maiden in the suburbs of Chicago. It includes some of the record’s best guitar leads and strongest drumming, culminating in a full display of this foursome’s love of metal. The Aging Punk finds The Reaganomics significantly surpassing their previous work, both in terms of their songwriting and performances. Producer Dan Tinkler also did an excellent job behind the boards, providing a clean yet powerful recording. Fans of Chicago punk, ‘80s metal or Andrew W.K. shouldn’t delay in checking out this album.
In late October, the Bruce Lee Band released their latest EP, called Rental!! Eviction!! We spoke with singer Mike Park last week and discussed how it was written and recorded. We also talked about some of the song’s lyrics and their recent shows in San Francisco and Hawaii. On this recording, the band’s lineup consists Jeff Rosenstock on bass, Dan Potthast on keyboards and guitar, and Kevin Higuchi on drums, (Park is responsible for vocals and saxophone). Rental!! Eviction!! marks the band’s fifth release and it’s likely their most cohesive and catchiest to date. With lyrics that address a range of topics and the inclusion of various genres, this is an EP that’s sure to appeal to a wide audience.
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.
