Reviews

Fat Wreck

Bad Cop/Bad Cop The Ride CD

Besides having the best band name in punk, this LA-based four-piece has some of the top harmonizers in the genre. I don’t know if it’s shitty societal conditioning or what, but I find myself having some resistance to new BC/BC records. Part of it might be that whole bullshit holdover from JAWBREAKER that if a DIY band gets successful, we’re no longer allowed to like them. And yes, I realize I’m addressing this on a platform for which is notoriously anti-major label. BC/BC continue to release on Fat, when I’m sure they could easily garner attention from those “indie” majors. It’s like I’m trepidatiously enjoying their music as if they’re going to pull the wool over my eyes and sign to something with a major parent company because they’re such great songwriters. However, once I get past that stupid fear, I really, really love the music they make. This record is more of what we’ve come to expect from BC/BC: catchy-as-fuck punk with empowering lyrics. Their songs are often calls to action like in “Certain Kind of Monster” wherein they cover immigration and the horrors of ICE keeping people in cages. In that track, they push the fact that no one is illegal, nor should they be pushed out of their homes. So many of the tracks see Stacey Dee taking over lead vocals which I love because her voice walks a razor’s edge between pure guttural grit and saccharine sweet harmony. She’s also often backed up by Jenny Cotterill’s powerhouse pipes. In the song “Pursuit of Liberty,” I’m almost certain that Linh Le is taking the helm on that one (I don’t have liner notes to reference). Every song is an inspirational earworm, convincing me that the world is worth existing in and that each one of us (the royal punk “us”) has the capacity to be anything we want. Through all of these depression-crushing tracks, they spell it all out in “Community,” and fuck do I miss that element of this subculture right now! I love everything about this record. It’s a major contender for album of the year for me.

Bracket Too Old to Die Young CD

My wife walked in on me playing this CD, and remarked that she both liked it, and that it reminded her (in terms of song structure, harmonies, et al.) of the BEATLES. Now, bear in mind, she hates pop punk, and the BEATLES are still the gold standard for pop. So, I don’t really have much to add. BRACKET, despite their championing by Fat Mike, and the grudging respect of my wife, have been the unsung heroes of pop punk for well over 20 years now. And apparently, they still have it, and then some.

Cigar The Visitor CD

Skate punk veterans from the late ’90s get back together again, and, well, do a new record. CIGAR was always noteworthy for the incredible speed and precision of their drumming, and sort of melded PENNYWISE and the SATANIC SURFERS with lots of RUSH-esque chops and changes and stops and starts. I mean, why use three chords when you can use thirteen instead!? For those looking for some straight-ahead LAGWAGON, you’ll be disappointed. But if you fancy BAD RELIGION doing some math rock, you’ll be in veritable heaven, all driven by a drummer who makes early NAPALM DEATH sound positively laid-back.

CJ Ramone The Holy Spell… CD

I have to hand it to the man. Since the end of the mighty RAMONES (and let’s face it, even after Dee Dee, the songwriting took a deep dive), ol’ CJ has done a great job of both keeping that distinctive sound alive and helping refine it, rolling it seamlessly into the 21st century—albeit with a few guitar solos that would make Johnny roll in his fascist grave. Which is a long way of saying that this is fucking good. Far from being a sub-par RAMONES cover band, CJ’s songwriting is up there with Dee Dee’s contributions to the band when CJ was handling the bass duties. He is producing songs of the caliber of “Pet Semetary” and “Poison Heart,” and his tribute to the late, lamented Steve Soto in “Rock On” is a case in point. This is really fucking good. Even if he does now have a beard.

Direct Hit Crown of Nothing CD

Never heard of these chaps before this disc, though apparently it’s their second full-length. What it does remind me of, most muchly, is the LILLINGTONS’s Stella Sapiente record. Both bands have some pedigree as pop punkers (the LILLINGTONS a bit longer, obviously), both are “concept” albums (still a rarity in punk rock, for better or worse), and on both records, they respectively take the pop punk genre and really reshape, expand, and redefine it. Throwing in lots of (darker) new wave stylings, and a whole host of other sounds and influences. Both are really fucking good.

Get Dead Dancing With the Curse CD

This is really fucking good. After a rather throw-away hip hop opening, this disc really hits the ground running. Full bloody tilt. They meld that NorCal melodic punk sound with some ska-steady moments (minus the horns of course), and a healthy dose of raw-throat pop. At its height (and there are mostly highs here), it’s eerily reminiscent of the FALCON and STAR FUCKING HIPSTERS…neither of which are NorCal bands, I readily concede, but I can’t really think of much greater praise.

Good Riddance Thoughts and Prayers CD

It’s been a while seen I’ve heard a current release for this Northern California band. Granted, they had disbanded and reunited in 2012. A catchy full-length that’s musically in the vein of labelmates NOFX and LAGWAGON, and strong vocals with a sociopolitical bent lyrically.

Joey Cape Let Me Know When You Give Up CD

You know, I was never a big fan of this guy’s output. Whether it’s the skate punk of LAGWAGON, the grungy BAD ASTRONAUT, or cheesy covers in ME FIRST AND THE GIMME GIMMIES, none of it piqued my interest. This latest effort is his first solo record in four years. A fair portion of it is quiet and intimate in a way that had me a little checked out. The titular track does this really pretty thing when it transitions from this subdued lullaby on an acoustic guitar with a phone ringing in the distance. Right when he starts singing “As we wait wait for sea change / Wait for the next wave” there’s this crescendo that he builds to vocally and it’s really nice. But then the drums, electric guitar, and piano jump in, and it sounds like something I’d hear at youth group. Then the very next track chugs along with this lean towards country that I hear in the play between the drums and a slightly twangy guitar. It’s not like there’s a western lilt to his voice, it’s more just a vibe I get. The very next song, “Daylight,” croons in with this ghostly choir of “oooooh”s, some strings, and soft, sleepy vocals. On this record, there’s some weird synth that sounds almost like a theremin, there’s a lap steel, and there’s a female vocal accompaniment. All over the map. I’ll say this: the guy really knows how to build to a break, make strong song arrangements, pen intentional and thoughtful lyrics, and he has a deft control of his voice paired with strong delivery. Each song sounds different from the other, with the only cohesive element being Joey’s singing. This record is anything but solo and, to me, feels like alternative adult contemporary made by a punk. I don’t quite know where to land on this. He’s mentioned in interviews that this is meant to be a distraction from deluge of politics, and if that’s what it aims to do, then it’s perfectly fine background noise.

Lagwagon Railer CD

Loads of bands that have been around a while (decades at this point—three in the case of LAGWAGON) seem to either be “returning” to their early material/sound, or doing so when they reform. Not sure that LAGWAGON ever officially broke up, but this is their ninth full-length effort in thirty-odd years, and is heralded as a return to the “old” sound. Short, sharp, and punchy. In that distinctive melodic hardcore way, of course. As such, it’s the best thing they’ve done in decades, I reckon. Though there’s now loads of guitar solos in the songs. Never a bad thing to these ears, though it does, at times, make it sound like old LAGWAGON meets early IRON MAIDEN, or even a de-metalicized STRUNG OUT. As if to prove my point, they do a JOURNEY cover, which fits right in.

Leftöver Crack Leftover Leftöver Crack: The E-Sides and F-Sides CD

Unpopular opinion in 4, 3, 2, 1…LEFTÖVER CRACK are great. LEFTÖVER CRACK are important. LEFTÖVER CRACK still, in 2019, deserve so much more than the mall-meets-the-gutter status that the self-righteous punks bestow upon them, because context be damned, LEFTÖVER CRACK are fukkn great. A 30-track collection of EPs, splits and outtakes sequenced brilliantly—catchy punk, infectious ska-punk, anti-cop, anti-authority, anti-racist, pro-punk melodic punk. I don’t know what else think you want from this subculture we all claim, but MINOR THREAT is a starter band too, you dig? You don’t ditch your Pay To Cum EP just ’cause the suburban punk twerp rocks a BAD BRAINS shirt, do you? Just saying. Important punk is still important, and even though the kids like ’em, LEFTÖVER CRACK are still great.

Makewar Get It Together LP

There is no weak link in this tight three-piece punk ensemble. It’s been a cliché since the mid-’90s that all of the bands on Fat have “that Fat sound” and sound alike. It’s not really ever been that true that many or even most of the bands sound that similar, but people like to talk shit. That said, MAKEWAR might be an example of what you’d call “that classic Fat sound,” and people would fully understand what you were saying. This band is a new and improved take on GOOD RIDDANCE or STRUNG OUT, with an additional bilingual flare from Venezuela and Colombia. “Oh Brother” is their sound presented pure and simple on a platter for you. “No Más is some good clean hardcore. In a rare occurrence, the album finishes stronger than it began with two of the best tracks, “Hands on the Tyrant” and “Get It Together,” closing it out. If the massive leap in quality from their previous (and still awesome) releases is to be believed, this is a band that is going to command everyone’s attention soon.

Mean Jeans Gigantic Sike CD

These Portland popsters are back with another fun solid release. Pop punk meets power pop along the ways of the YUM YUMS, the TRAVOLTAS, and of course the RAMONES. 11 songs in 21 minutes, so there’s no doodling around here. I’ve seen this trio several times, and they are good live as well. Together since 2006, this is their fifth full-length. Top notch band for the pop folk.

Pears Pears CD

Third LP from this New Orleans band. Well-produced hardcore that has its pop punk moments, if you consider the harder DESCENDENTS stuff pop-punk. The rest is on the melodic hardcore side à la KID DYNAMITE and STRIKE ANYWHERE. Solid full-length with some interesting twists along the way. A good live band, too.

Snuff There’s a Lot of It About CD

You probably don’t expect me to be a SNUFF fan, though I’m a very selective one. I haven’t actually checked in on them since “‹Tweet Tweet My Lovely“‹ back in 1998. I hear a lot of those very distinct SNUFF sounds here. Plenty of pop, some organ-driven ballads, and even still a hint of their hardcore influences on a couple tracks. It’s like tradition. Does anyone else think of Duncan Edmonds as the Phil Collins of punk? Just think about it… I don’t predict that this album is gonna produce new SNUFF fans among MRR’s readership, and I also don’t find any of the tracks jumping out as instant classics, but it’s consistent and enjoyable.

Strung Out Songs of Armor and Devotion CD

I’m not ashamed to confess that I’ve always had a real soft spot for STRUNG OUT. Over the last three decades they’ve pretty much perfected that seamless blend of metallic driving melodic hardcore, complete with the twin guitar solos, false harmonics, and layered vocals. Imagine the IRON MAIDEN Killers line-up covering NO USE FOR A NAME’s ¡Leche con Carne! Or BAD RELIGION having a go at the best of THIN LIZZY. Yup, it’s that good, and it still works.

Teenage Bottlerocket Teenage Bottlerocket vs. Human Robots EP

A four-songer from the TEENAGE BOTTLEROCKET camp. Two songs from the band, including the new uptempo classic “Olivia Goes To Bolivia.” The second 2 songs are Ray and his son Milo dishing out some barely teenage angst music. This band can do no wrong for me.

Teenage Bottlerocket Stay Rad! CD

One of my favorites. These Wyoming guys have been dishing out the quality pop punk for close to twenty years, and this is their first full length of originals since the passing of their drummer Brandon in 2015. Another full-length packed with RAMONES-influenced pop punk, with a few hard rockers and slower tunes to mix it up. Great album, great band!

The Bombpops Death in Venice Beach LP

Since their Fat Wreck Chords debut in 2017, the BOMBPOPS have been popping up on everyone’s radar, and this is the album that should keep them there. They’d previously developed a mastery of the SoCal skate punk sound mixed with killer vocal harmonies that got them on Fat, so now they were able to use that and focus on their lyrics and storytelling. This album finds them in a scary place. Addiction, suicidal ideations, and interpersonal violence all pepper Death in Venice Beach like a fine spice. In the end, there’s a reluctant optimism to the overall feel of the album, but you might have a harder time finding it than you’d expect. There is a complexity here that demands your time. “13 Stories Down” is the perfected version of the sad song every punk kid wrote in high school when they thought they weren’t going to make it. “Notre Dame” and “Double Arrows Down” are some standout tracks that really complete this all-around superb release.

The Copyrights Alone in a Dome CD

Fans of the COPYRIGHTS will not be disappointed with their debut full-length for Fat. The formula remains the same here as with their past outings: catchy, polished, harmony-laden pop punk that draws inspiration from all the usual suspects without sounding dated or like a carbon copy of something from years prior. Are there times when listening you could say “Hey, that part sounds kinda like…”? Sure, but those times are fleeting, and at the end of the day, this is a COPYRIGHTS record through and through. One that’s sure to please fans, new and old.

The Flatliners New Ruin CD

OK. Full disclosure, I spent years actively avoiding this band. Like I’m talking about not listening to any of their records, hanging out at the bar or outside smoking if they were playing a show I was at, etc., all under the assumption that somewhere I had heard they were a ska punk band. Ha ha ha. What an asshole. Guess I learned my lesson, because that couldn’t be any further from the truth, on this offering at least. Instead, what we have is something similar to singer Chris Crestwell’s other band, HOT WATER MUSIC, at least in some of the ways the backups are presented and some of the melodies. I have been listening to this like every other day. It’s really good, surprisingly so. The one thing that did take a bit of getting used to for me right off the bat though was Crestwell’s vocals. Upon the first few listens, I couldn’t shake the idea that they sounded like a mixture of Chris Wollard, Geddy Lee, and the dude from MATCHBOX 20. It bugged me for a bit, but I actually dig his voice. I find myself enjoying this more and more upon each listen. Maybe next time they’re in town I’ll actually make a point of watching them!

The Real McKenzies Beer and Loathing CD

I have to confess, having grown up in Scotland, I always hated the bagpipes. Firstly, no fucker (including on one of the tracks on this new CD—their eleventh full-length in an almost 30-year run to date) can get the drone quite in tune. Secondly, like fife and drums, the bagpipes are basically used to play martial music, which is a load of bollocks an’ all. Despite that, however, I’ve always had a soft spot for the REAL MCKENZIES. They play anthemic melodic, driving punk, well, with bagpipes! At their best, they sound like the glory days of NO USE FOR A NAME and GOOD RIDDANCE, with the bagpipes largely just being part of the instrumentation. There is the occasional tired old “traditional” song, instrumentals with embarassing names like “A Widow’s Watch” and “The Seafarers Return,” and lyrically, a nod to the usual sad nationalistic/militaristic bullshit. How come it’s all about fighting for the King (i.e. being a tool of empire) or Bonnie Prince Charlie (the weirdo German prince who couldn’t speak English, let alone Gaelic, who briefly fancied himself in the interminable internecine wars of the ruling classes). Whatever happened to singing real rebel songs, about James Connolly, and Hardie & Baird. Anyways, I digress. There are a couple of folk-rock power ballads on here, which don’t do much for me, but the real gem contained herein is a dead-ringer for early BIG COUNTRY. Some of you may remember the glory of BIG COUNTRY (who came out of Scottish punk band the SKIDS in the early ’80s) and who perfected the twin guitar attack to, well, sound like bagpipes, to fantastic melodic effect. Well, the REAL MCKENZIES manage to do just that..with twin guitars and bagpipes. Fair enough.

Tommy and June Tommy and June CD

In my head, I’ve been constructing a lengthy discourse on the lineage stretching from SIMON AND GARFUNKEL to the likes of NOFX or NO USE FOR A NAME. Y’know, close vocal harmonies, pop songs, power chords, that sort of thing. But fuck it. TOMMY AND JUNE are a duo (no shit), with more than a passing resemblance to SIMON AND GARFUNKEL, NOFX and NO USE FOR A NAME. Tommy is obviously the Paul Simon of this duo. He writes all the songs, and I’m guessing he does the lead vocals (as opposed to the typically omnipresent high harmonies). Lyrically, they talk about being punks and not wanting to grow up, and unsurprisingly, often throw in (as did SIMON AND GARFUNKEL, of course) electric guitars and drumkits into the typical folky acoustic guitar mix. As well as the patented NOFX/NO USE FOR A NAME chord and vocal harmony progressions. There’s even a bona fide (pop punk) rocker or two on this disc. And at ten tracks clocking in at twenty minutes, there’s no meandering endless introspection, nor repeat-to-fade choruses. It’s actually fucking really good, and this is coming from your humble reviewer who is the proud owner of not only the Old Friends SIMON AND GARFUNKEL box set, but every single CD ever released by NOFX (well, except Liberal Animation, which let’s face it, is embarassing bollocks). Pop-folk-punk anyone?

Western Addiction Frail Bray CD

This local band cranks out the melodic hardcore Á  la GOOD RIDDANCE and STRIKE ANYWHERE. Probably as hardcore as Fat Records puts out. Uptempo, angry, and good screaming vocals. Don’t expect feel-good music in the mix here. Good music for bad-mood people.