On August 9th, The Addisons are scheduled to release their second EP, Here It Comes Again. Recorded and produced by Mike Felumlee of The Smoking Popes, the record finds the band noticeably advancing their interpretation of Midwestern indie/punk. The Addisons’ roster consists of singer/guitarists Dave Lysien, (Not Rebecca, Textbook) and Tom Counihan, (Not Rebecca, Tom Daily). Anchoring the rhythm section is bassist Rick Uncapher, (Textbook, Dan Vapid and the Cheats, Noise By Numbers) and the newest addition, drummer Jesse Carmona, (Gods Reflex, The Braves).

When asked about recording with Felumlee, Counihan said “I’ve been playing and recording with Mike on and off for over 20 years, since I played with him in the Smoking Popes. He played drums on a bunch of my solo recordings, so it was very natural to record with him.” He added, “I just like the tones of the recordings. Mike and I have similar tastes in music, so the mixes, especially the drum sounds, are right where I like them.”

We’re streaming one of the songs from Here It Comes Again below, called “Down Down Down.” When speaking of what inspired its creation, Counihan said “The song came together really quickly. I wrote it in my car at lunch one day. I had my guitar in the back seat and I started and finished in less than an hour. I recorded it onto my phone and sent it to the rest of the band right away. The next practice we started working on turning it into a full band version. I don’t write songs nearly as often as I used to, so it was great to have it be so painless.” Take a listen to the track now and on Thursday, get the record here.

Asian Man Records – Release Date: 8/24/18

Next month, Ogikubo Station will release their debut full-length, called We Can Pretend Like. The band features Maura Weaver, (Mixtapes) and Mike Park, (Skankin’ Pickle, The Chinkees). While not sounding particularly similar to the aforementioned groups, this project is likely to be eagerly received by fans of heartfelt, melodic indie rock. The album begins with “I’ve Been Thinking of St. Louis,” a track that does an excellent job of setting the tone for what’s to follow. Its sparse arrangement allows for Weaver’s exceptional vocal performance to really shine through and highlight the lyrics, which alternate between a sense of reflection and an eye on the future, (a theme found throughout the record). The next song, “Take a Piece of All That’s Good,” is more of a full band effort and decidedly catchy without overtly trying to be. It includes a driving rhythm and dual vocals, and recalls a past relationship in hopes of making sense of what dissolved. “Drowning at the Watering Hole” is infectiously poppy, packed with ‘80s keyboards and sounds like a mix of The Cars and The Get Up Kids. It talks of missing an old friend when in unfamiliar surroundings and a desire to let that person know you still care.

The title track takes a softer and more acoustic-based turn, with vulnerable vocals that reflect the sensitive nature of the lyrics. Weaver sings, “If you stand still, nothing will change / When you can’t let go, it’ll eat you whole,” and with these words she seemingly captures what’s at the heart of this record. On “Strong as You,” Park assumes lead vocals and delivers a very personal and somber account of his father’s battle with cancer. It seamlessly transitions into “Weak Souls Walk Around Here,” a rock-tinged entry that contains some of Park’s strongest vocals and arguably the album’s most memorable chorus. The record appropriately wraps up with “Let the World Know,” a song that turns its gaze outward, examining the current landscape and calling for change. In times such as these, a desire for positivity, compassion and a better existence is something that likely resonates with nearly everyone.

With We Can Pretend Like, Ogikubo Station has produced a collection of songs that vary in style, yet also maintain a sense of cohesion. On the surface, the songwriting is rather straightforward and unforced, but multiple listens reveal layers of detail and intricacies. There’s an emphasis on unique vocal arrangements and earnest lyrics, which help to form the foundation of what is a very promising and complete album. For those wanting to get in on the ground floor, you can preorder the record here.

Following three successful shows at Chop Shop earlier this month, Apocalypse Hoboken is set to release a collections LP on Underground Communiqué Records, titled Everybody’s Been Burned. Spanning 17 tracks in total, many of these songs initially appeared on compilations, but were never previously released on vinyl. According to label owner Justin Schwier, the idea for this record came about roughly six months ago during a conversation with drummer Andy Peterson. “Andy and I were at a birthday party and he brought the idea up. He told me they were planning this weekend of shows and asked about whether or not I was interested in doing something for the band, which I of course was,” he said. “Working with Apocalypse Hoboken was never something I ever thought would happen and I’m truly honored to get something back in print for them.”

A limited edition of 100 LPs on smoky clear vinyl were made available at the recent shows, but quickly sold out. Once the covers are ready, there will be 200 copies available on transparent orange vinyl and 100 copies on clear vinyl with blue coloring at the center. Additionally, there will be 100 copies of purple vinyl sold exclusively at Reckless Records. All songs were remastered by Bill Henderson at Azimuth Mastering, which according to Schwier wasn’t the easiest of undertakings. “First and foremost, he did an amazing job and truly transformed these songs in a way that is staggering compared to the state of some of the tracks the band handed over initially,” he said. “Compilations like this are difficult to master because almost every track is from a different recording session, so he had to uniformly equalize the sound and then go and fix a bunch of technical audio problems. A couple songs were really challenging to fix, but he worked his magic.”

When reflecting on the weekend of shows and the opportunity to work with the band, Schwier said “Honestly it wasn’t until Friday night when they started playing that the magnitude of doing an Apocalypse Hoboken record actually hit me. I got a little emotional seeing them live again. That Friday night show was bonkers from the first note. I was immediately brought back to being a teenager and seeing them play all the time. The power of that band live cannot be explained, nor underestimated. They reconjured that alluring darkness and chaotic atmosphere out of nowhere again, like I knew they would.” Preorder the LP here and take a listen to one of the songs below, “Excel.”

Chicago’s Canadian Rifle recently played one of the last shows ever at Quenchers. We met up with singer/guitarist Jake Levee and bassist/singer Tim Murphy before their set to talk about their latest album, Peaceful Death. We discussed its writing process, the nature of some of the lyrics, and how they connected with Dead Broke Rekerds for the LP’s release. With Peaceful Death, Canadian Rifle has refined their take on midwestern punk and also managed to capture the raw power of their live shows. We spoke about how they were able to do so in the studio, as this marks the band’s first collaboration with producer Sanford Parker. We also conversed about the record’s artwork, future touring plans and more. Click here to view…

Fat Wreck Chords – Release Date: 6/15/18

This Friday, The Mad Caddies are set to release an album consisting of their own unique interpretations of punk songs, aptly titled Punk Rocksteady. Selections from some of the biggest names in punk are included, but they’re completely reimagined with prominent influences of ska, reggae, two-tone and more. Kicking off the record is the Bad Religion hit “Sorrow,” and this version features a piano intro, echoed vocals that highlight the story of a father-son relationship, and numerous organ melodies. It’s hard to imagine a ska-heavy rendition of this song being able to retain the somber mood of the original, but this one does just that and in a manner that’s completely distinctive. Green Day’s “She” is another notable entry and this adaption has a breezy, laidback vibe and a skillfully-crafted guitar solo. Propagandhi’s “…And We Thought Nation States Were a Bad Idea” is up next and its offbeat rhythm helps to emphasize the overtly political lyrics, while an abundance of backing vocals in the chorus serves to further reinforce the main theme. Lagwagon’s “Alien 8” is perhaps the most horn-driven track on the album, and Bracket’s “2RAK005” just might be the record’s catchiest song, showcasing the vocal talents of singer Chuck Robertson. Also included are covers of Operation Ivy, The Misfits, Against Me!, Descendents and more. Simply put, Punk Rocksteady has arrived just in time for summer. It makes for great driving music and would appeal equally to longtime fans of The Mad Caddies or punk aficionados looking for new renderings of their favorite jams.

Several weeks ago, Red City Radio played Bottom Lounge and we caught up with singer/guitarist Garrett Dale before the show. We talked about their new EP on Red Scare Industries, SkyTigers, including how it was written and recorded, as well as the origins of its unique title. SkyTigers finds Red City Radio further uncovering their own distinctive sound, while simultaneously making strides with their songwriting capabilities. We discussed what motivated the EP’s style, in addition to some seemingly random topics, like professional wrestling, Charlie Chaplin, Death Row Records and more.

Click here to view…

Last month, SuJah Ray released their debut, self-titled EP. The project was conceived of several years ago by Justin Yates, (audio engineer Atlas Studios/Metro). He explained, “I was wrapping up a Fireside show and playing Sugar Ray over the PA at the end of the night. My buddy Dan Wallach and I joked around, changing some words here and there and then it hit me that it could actually be a cool, totally ridiculous idea. About five years later Dan Tinkler, (engineer Atlas Studios) some other very talented homies and I finally brought it to life.” He continued, “We’re all fans of Jahbreaker, (Brian Moss’s Jawbreaker reggae cover band that made all the lyrics weed-related) and thought Sugar Ray songs would be perfect to do a similar reggae/dub thing with.”

Assisting Yates in making this endeavor a reality were several noteworthy Chicago musicians. Ronnie DiCola, (The Arrivals) played drums, Aly Jados, (Blood People) provided harmonies, and Dan Alfonsi, (Still Alive) channeled deejay Super Cat and did some additional vocals. Tinkler played guitar, while Yates sang and played keyboards and synth bass. When asked to describe what recording was like, Tinkler said “We did the majority of tracking at Atlas, but added some bits and pieces at our apartments. It was stretched out over a long time, mostly due to my dumb scheduling, but it was always fun. I think that was a really important part of it; when we worked on it we had to have fun and be silly. Of course we had to get good performances, but we were focused on it being fun. Justin and I always have a blast working together.”

In terms of the possibility of someone from Sugar Ray ever hearing these songs, Yates said “I hope they get a good, guttural laugh out of it! Maybe they’ll be jealous that we told stories via songs that they always wanted to. Mark McGrath seems like a super caring, charismatic, fantastic guy. I’d love it if he reached out or mentioned SuJah Ray somewhere someday. Or maybe they’ll hear it and think that everything we’re doing is too close for comfort and shut us down with court orders and stuff. I would get a huge LOL out of that!” Check out “High” below and take a listen to the other songs here.

On May 18th, Darren Vorel, (The Scissors, Showoff, TLB) will release his debut solo EP, More Today Than Ever. Written over a period of several years, these songs didn’t necessarily gel with his current band, TLB, so Vorel opted for the solo route. He explained, “I like to make creative goals for myself at the beginning of every year. I knew that Tom and Dave from TLB were going to be busy with their other group in 2018, so I decided to put more focus on writing, with equal attention to TLB and any other outlet I might have to release music. I’ve written a full EP for The Scissors and I’ve written some new songs for another solo release as well. It feels good to have a lot of stuff ready to go.”

Vorel recorded these songs in his Chicago apartment and was responsible for all vocals, as well as guitar, bass and keyboard duties. For drums and percussion, he enlisted the help of his friends Mike Rataj and Chris Mason. When asked about the recording experience, Vorel said “I had to invest in some software and some mics and monitors. I also had to do a ton of research on recording in general. The other half was just recalling what I’ve picked up from watching engineers I’ve worked with over the years. Nothing I have is super fancy, but I think this turned out sounding great for what I had to work with.” He added, “After it was all mixed and ready to go, I still had to master the album. I don’t think I really understood mastering before this experience. I called up my old pal Matt Allison and he came in to help me really put that final glaze over everything to make it real.”

We’re streaming the record’s leadoff track below, “Come Back Girl,” which Vorel described as a good blend of the music he’s created in the past. To celebrate the EP’s release, he’s playing a show at Beat Kitchen on Saturday, May 26th, along with The Cold Mourning, The Hoodie Life, and Daniel Wade. It starts at 7:00 PM, is 17+ and tickets can be purchased here. Joining Vorel onstage that night will be two of his Showoff bandmates, brothers Dan and George Castady. When speaking about playing with them, he said “They can both sing better than I can and are absolute experts when it comes to their craft. I’m really fortunate to have known them this long and I know they’ll be able to give the audience the truest representation of these songs.” Check out “Come Back Girl” now and preorder the record here.

https://soundcloud.com/vorel/darren-vorel-more-today-than-ever-come-back-girl/s-qCX8D

Earlier this month, The Lillingtons played Beat Kitchen and we met up with singer/guitarist Kody Templeman to talk about the band’s latest album, Stella Sapiente. The record, (their first in 11 years) features a host of new influences, ranging from ‘80s post-punk to vintage speed metal. The new sounds mesh with lyrics centered on the occult to create a distinctive style that somewhat reintroduces the band after a lengthy hiatus. We spoke with Templeman about how the album was written, its various themes and what the recording process was like. We also discussed the band’s upcoming European tour, Templeman’s disdain for insects and more. Click here to view…

Fat Wreck Chords – Release Date: 3/30/18

The Lawrence Arms (TLA) need no introduction. Rather, I’d like to emphasize that the band has evolved with an impressive consistency since 1999; including writing and musicianship, down to its primary engineer through the years: Matt Allison of Atlas Studios. A steady captain behind the scenes gives the recording quality and process a consistency of its own. The trio comprised of bassist/vocalist Brendan Kelly, guitarist/vocalist Chris McCaughan and drummer Neil Hennessy hand-picked 29 songs to showcase on its new best-of collection titled, We Are the Champions of the World.

Of the 29 tracks, 24 were culled from the band’s prolific discography – an evenly distributed retrospective spread, providing existing fans with the ultimate TLA mixtape, while simultaneously creating a perfect pool of songs for those just jumping in. The biggest perk of this release are the five previously unreleased tracks featured on this collection, all taken from the 2006 Oh! Calcutta! sessions, recorded at Atlas Studios in Chicago.

The tracks were scrapped because they “just didn’t fit in the structure of that album, which ended up being very focused and thematic,” Kelly said. “I hadn’t heard these songs in over 10 years,” McCaughan said. “I’d basically forgotten they existed at all, so listening back to a few of them was initially like stepping into some strange portal.”

“The Rabbit and the Rooster” was featured as an iTunes bonus track to O!C! It’s an anthemic, triumphant song that almost-comically borrows its bridge from Cher’s “If I Could Turn Back Time.” It’s an unapologetically upbeat tune about living for today, with plenty of nods to drinking and paying no mind to regret.

“Catalog” is short and fast, over before the 1:30 mark. Kelly and McCaughan trade vocal duties on this one. Interestingly, this was the first song Kelly wrote for the O!C! sessions. For a demo, the quality is superb.

McCaughan’s “Black Snow” is perhaps the most dynamic of the unreleased tracks. Backing vocals were never added, and it was abandoned about halfway through its completion. It captures much of what McCaughan felt in 2005 in Chicago. Thematically and sonically, it’s restless and echoes a Holden Caulfield-esque perspective. “I need a better way, another day, a different time/This liquor sheen smiles in my eyes/I’m searching for an anchor in this empty night/Walking home on the same street/it never used to look like this/the skeletons are secretly living in all these condominiums.”

“Laugh Out Loud” was another one of the earlier songs written for the O!C! sessions by McCaughan and exists now only as a demo. “It’s so easy to be jaded,” he sings. “Warped Summer Extravaganza (Turbo Excellent)” is a much faster take of the song that made the cut on O!C! This perhaps is the fastest song TLA has in its catalog, and it’s a perfectly succinct track to end the retrospective on, bringing it full circle in a way.

– Jason Duarte

Last month, Chicago’s High Priests released their debut album on Triple Eye Industries, called Spinning. The trio features Mikey Alesi, (vocals/guitar) Justin Gutierrez, (bass) and Mustafa Daka, (drums). Collectively, they’ve played in or currently play in bands such as: The Brokedowns, Wide Angles and Post Child. Recorded by Joe Gac, (Meat Wave) and mastered by Justin Perkins, the record does an impressive job of balancing the group’s inherent rawness with an appropriate amount of polish, thereby allowing the intricacies of the arrangements to really standout. When asked about the recording process, Daka said “I’ve recorded with Joe so many times over the years. He’s who I want to continue working with because I feel he gets better every time and he’s already amazing.”

We’re streaming the album’s opening track below, “Control,” which exemplifies the band’s fierce interpretation of contemporary noise-rock. When speaking as to how they typically go about songwriting, Daka said “Mikey usually comes in with a song and I beat my brain up a little to figure out any of his weird timings. Then Justin and I figure out parts that we think best complement what Mikey’s written and eventually they end up all being fun songs to play.” Take a listen to “Control” now and purchase the record here.

Red Scare – Release Date: 3/09/18

Marking their first official release in nearly three years, SkyTigers finds Red City Radio embracing a multitude of new influences to further hone their signature sound. Recorded by Mike Kennerty, (The All-American Rejects) and mixed by Matt Allison, (Alkaline Trio, The Lawrence Arms) the EP not only sounds phenomenal, but also highlights the subtleties found within the detailed songwriting. “If You Want Blood…” is the leadoff track and it contains many of the characteristics found throughout this collection of songs: layered backing vocals, blistering guitar solos and an underlying sense of self-empowerment. “I’ll Still Be Around” opens with a slight country vibe and piano accents, not unlike frontman Garrett Dale’s solo EP from last year, before the rest of the band comes in and provides a sturdy framework that spotlights the talented rhythm section. “In the Shadows” is an ominous rocker that recalls 80’s metal and boasts the record’s most intricate guitar leads, while “Rebels” is a defiant, melodic anthem that’s sure to elicit significant crowd response when played live. With the title track, RCR has managed to craft a uniquely structured six-minute entry that champions positivity. It’s largely built around a piece of dialogue from the 1940 film The Great Dictator, reinforcing a message of inclusion and persistence, which seems especially relevant nowadays. SkyTigers sees Red City Radio further differentiate themselves from their peers with topnotch musicianship and the merging of multiple genres. These five songs represent a new era for the band and should leave fans anxiously awaiting their next full-length.

Earlier this month, Chicago’s Airstream Futures released their debut album on Paper + Plastick, entitled Spirale Infernale. We recently met with the band, (singer Devon Carson, guitarist Jeff Dean, bassist Megan Edgin and drummer Mike Soucy) and talked at length about the record. We discussed its writing and recording process, the impact of the album’s producers, what influenced some of the lyrical content and more. Airstream Futures merge punk, ‘90s alternative and indie rock subtleties to create a style that’s uniquely their own. Also apparent in their sound is how much fun the band members have writing and playing music together. Despite forming just over a year ago, Airstream Futures has already accomplished a considerable amount and show no sign of slowing their momentum anytime soon. Click here to view…

Underground Communiqué Records – Release Date: 9/29/17

Detroit’s Rebel Spies recently released their debut full-length on Underground Communiqué, called Rise! Featuring members of The Suicide Machines, Hellmouth and Telegraph, Rebel Spies’ sound isn’t especially reminiscent of those bands, but rather suggestive of old school punk like 7 Seconds and Dag Nasty. What’s unique is how they manage to capture the spirit of the genre’s forefathers, while remaining unpredictable and infusing contemporary influences to create something particularly distinct. Album opener “That Mask” is a rousing call to arms with a stirring chorus that quickly sets the tone for the rest of the record. It’s followed by “Sorry About the Mess,” a concise burst of energy that rallies against complacency and evokes memories of melodic hardcore greats Avail. “We Must Be Cautious” changes things up with an expansive chorus and a blazing guitar solo, while “Domain of Evil” is reminiscent of The Clash, complete with an offbeat rhythm and call and response vocals. “What Have I Done” is influenced by East Coast hardcore and encourages making a change for the better, and the album’s final track, “Not Dead Not Yet,” arguably saves the best for last. It begins with a catchy guitar lead that segues to ska-influenced upstrokes, paving the way for a soaring chorus that delivers a resilient message and reinforces the importance of not giving up. With Rise!, Rebel Spies have made a record that draws from the past as much as it incorporates modern styles. It’s well-written, skillfully performed and filled with promise.

Asian Man Records – Release Date: 10/06/17

San Jose’s Hard Girls recently released their latest album on Asian Man Records, called Floating Now. Having spent a majority of the last several years touring with the likes of Say Anything, Modern Baseball and AJJ, it’s apparent that the time on the road has assisted in Hard Girls advancing their sound. With influences ranging from post-punk to ‘90s alternative, Floating Now is a distinctive record and one that’s further reinforced by the versatile production of Jack Shirley, (Joyce Manor, Jeff Rosenstock). Album opener “Field ‘99” uses a substantial amount of fuzz and a marching rhythm to build intensity before segueing to “Puddle of Blood,” arguably the record’s catchiest track. Sounding as though Weezer was to play a beer-soaked basement party with significantly more brawn and without all the hang-ups, “Puddle…” is a straightforward banger that improves with every listen. “Guadalupe on the Banks of the Styx” is one of the most detailed and layered songs that Hard Girls has ever written, with lyrics that address the ongoing class-divide in their hometown. It’s perhaps the best example of the band’s progression and hopefully an indication of where their music is headed in the future. “Dizzy Wizard” is a speedy, shimmering indie rock song that underscores the guitar prowess of frontman Mike Huguenor, while album closer “Running” highlights the unpredictable yet surefooted rhythm section of singer/bassist Morgan Herrell and drummer Max Feshbach. It’s really an ideal ending, complete with contemplative lyrics, unique vocal harmonies and boundless energy. Floating Now is unquestionably Hard Girls’ finest effort to date, combining first-rate songwriting with outstanding performances. It would likely appeal to any fan of melodic rock, as well as those in search of genre-defying music.