Tag: review

The Best Record of 1989: Day 4

by KevinLeave a Comment on The Best Record of 1989: Day 4

#33 Elvis Costello, Spike vs. #96 Screaming Trees, Buzz Factory

In this round, my bracket pick reflects what I thought would be the favorite. I picked with my head and not my heart. Tough call to go against the record you prefer, but here we are.

There’s some relief in knowing both are objectively good records, and both serve as inflection points for their respective careers. Having to pick between two good records is a good problem to have!

And if I’m honest—and can predict how the bracket will play out—there are some seriously tough calls on the horizon. Like some Solomon-level shit.

But for today, let’s look at each of these:

###

There are a handful of Seattle bands everyone knows. The Q-ratings of Soundgarden, Nirvana, and Pearl Jam are off the charts. Nothing wrong with that;  we (collectively) like what we like.

But those bands tend to cast a long shadow, and underneath them were a whole ‘nother tier of bands that were just as good, who for whatever reason never hit critical mass the same way. Bands like Mudhoney, Tad, and Skinyard.

Bands like Screaming Trees.

1992’s Sweet Oblivion briefly put them on the map, and the hit single “Nearly Lost You” gave a glimpse of what their breakout might look like. But before that—before the hope/hype of the Seattle Sound (or whatever we were callin’ it) the band was grinding away on SST records, and in 1989 put out what was, IMO, their best record; Buzz factory.

The band’s fourth record shows them in fine form. Mark Lanegan’s voice is as strong as ever. Gary Lee Connor’s unique guitar sound delivers weapons grade levels of fuzz and wah-wah but never overwhelms. The rhythm section delivers a consistent muscular beat. Any questions are answered with the slinking groove that kicks off “Where the Twain Shall Meet.” This is a band much more similar to Led Zepplin than to their punk labelmates.

There are a couple of missteps here (take a bow Yard Trip #7), but those are the rare exceptions to the rule. Besides Where the Twain Shall Meet, standouts include “Subtle Poison” and closer “End of the Universe.” In between is some of the most solid, heavy-sounding grunge/psych rock to ever come out of Washington State.

In 1989, Elvis Costello was determined. New label, no Attractions, and after 2 years a new record to follow up two (relatively) well regarded releases.

I don’t know if “statement record” fits here, but I can’t help but think Costello went into the studio looking to prove something. With the benefit of hindsight, a demarcation line between the early era of Armed Forces and This Year’s Model and subsequent releases appears. I have to assume that if pressed, most people would recognize “Pump It Up.” As late as ’82 you might still be able to make the case with “Everyday I write the Book” off of Punch the Clock. But that’s an exception in a run of records that is largely a dry spell chart-wise. Even Costello didn’t much care for Goodbye Cruel World.

So! Back to Spike: There were no Attractions, Costello instead tapping a roster of, well, all kinds of musicians. T-Bone Burnett was there, as was Chrissie Hynde. Benmont Tench and Mitchell Froom, too. It’s a long list. And with that sort of variety comes a greater than zero chance that the result will be well done but inconsistent….or just a jumbled mess.

Having an anchor like Costello helps keep everything from spinning out of orbit. The horns on “Deep Dark Truthful Mirror” are a nice early touch. “Chewing Gum” is a strutting funk number. And of course, there was “Veronica,” a genuine hit, peaking at 19 on the Billboard Top 40, and topping the modern rock chart.

In the end, the variety is a positive. For better or worse, urgent tracks like “(What’s So Funny ‘Bout) Peace Love and understanding” and the aforementioned “Pump It Up” are what first come to mind when I think of Elvis Costello. But there are several years between those release and Spike. People change and sounds evolve. Listening to this again after several years (and maybe for the first time front to back?) the biggest upside for me are the little surprises. The horns here, the samba beat there.

Mixing it up keeps things moving right along

Bottom line: Head-to-head, Buzz Factory more closely aligns with my tastes. Had I voted my heart, that would’ve been my pick. But having Spike penciled in on my bracket is nothing to regret.  

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

Check out the full bracket here.

Info on the tourney, voting, and more is here.

A Quick Look at New Order’s ‘Low Life’ at 40

by KevinLeave a Comment on A Quick Look at New Order’s ‘Low Life’ at 40

Four decades on, the band’s third release sounds as new as it did on Day 1.


Today we’re taking a quick look at New order’s Low Life LP as it turns 40.

If you’ve been here more than a day or two, you know my love for this band. Various people have described it as “rabid,” “partisan,” and “a lot.” I can’t argue with any of those, nor would I want to. I’m old enough to still reflexively sneer at the term “fanboy,” but when the shoe fits…

At any rate, this isn’t the first time the band has grabbed some column inches here, and it won’t be the last. Indeed, some of the first writing I ever did online (not counting shitposting in aviation forums) was on the band. Along the way, we’ve covered their underrated tracks, force-ranked each closing track of the first ten records, and twice made the case why they should be in the Rock and Roll Hall of Fame. Expect a third around this time next year.

TL; DR- I love this band and I love this record.

The Transmissions podcast (correctly) described the band as one that changed the world. Twice. I just described them as one I shamelessly love. This first ran as part of a piece I wrote for Matty C’s What AM I Making newsletter, where I talked about their first four records.

Low Life is the third of that lot, and 40 years on, it is still one of their best. To my ear, it sounds as relevant now as it did on day 1. What do you think?

KA—

I had a giant poster of this record cover for years, and I was well past the “unframed poster” age when it finally came down. It survived more moves than many other supposedly more important possessions. (and more than a few relationships, jobs, etc.). New Order—or rather their graphic designer Peter Saville—also habitually released records with beautiful covers. Every release was a marriage of sight and sound. Saville wasn’t picky, either; he was at home tapping into Bauhaus or Constructivist influences as much as he was classic art. In this case, we got the first—and to date, only— cover to feature pictures of themselves on the cover.

Low Life first hit my ears early in junior high. I’m now pushing fifty, and still play it quite often. The idea that I now have a kid the same age I was when I first found this is mind-bending and probably a story for later.

The album is tight from A1 to B4, with almost no missteps. The punchy “Love Vigilantes” kicks things off, and the listener immediately knows things will be different. First, the lyrics are a narrative (the lyrics finally tell a story! Stay for the surprise at the end!). The frantic “Sunrise” features one of Hook’s most propulsive bass lines–really, Hook’s bass playing is solid across the entire record– and the tandem of Morris & Gilbert adds a pop layer to everything.

Low Life marks the spot where the band finally decided to include singles on their records, though they were often heavily remixed. The first single was the glorious “The Perfect Kiss” (this author’s favorite song, not just on the record but of all time). The only thing wrong here is that they used the 5-minute version, not the epic 9-minute 12″ single. The record’s last track, “Face Up,” starts moody before shapeshifting into a very poppy track with Sumner practically yelling, “Oh, how I cannot bear the thought of you!”

I don’t know who he was singing about, but I still don’t like them.

This is also their first record that feels like a record with an overtly intentional progression and lyrics that aren’t intentionally vague. It’s meant to be consumed in whole. Words are used to tell actual stories here–at least in a few places.

The result? A blindingly good record

As always, I’d love to hear your thoughts on these records! Did I get it right, or am I way off the mark?

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Happy Sluttering Day to All Who Celebrate!

by KevinLeave a Comment on Happy Sluttering Day to All Who Celebrate!

Jawbreaker- Sluttering (May 4th)

Photo: NorthernExpress.com

Good morning!

Today we’re listening to “Sluttering (May 4th)” by Jawbreaker. Yes May 4th is a day for Star Wars (and Dave Brubeck!) memes, but it is also Sluttering Day— half celebration, half inside joke enjoyed by Jawbreaker fans the world over. Below is the original post from the early days of On Repeat Records. It has since become one of several annual traditions here. Enjoy!

KA—

This isn’t the first I’ve written about Jawbreaker, and it likely won’t be the last. The challenge for me isn’t picking songs by the band I want to share; it’s making sure that I don’t do it every week.

It’s pretty safe to say that everyone has at least one band that completely rearranged your mind the first time their sound met your ears. Jawbreaker is one of those for me, and in fact, I can remember excitedly picking up each of their 1st three records.

But it was also the early-mid 90s, and people were still drawing extremely Talmudic definitions of what constituted “selling out” or not. Jawbreaker happened to sign to DGC and release “Dear You” at exactly the wrong time, and the blowback was swift—and wholly unfair.

If “Sluttering” is the tale of someone being done wrong (it is), Dear You is the story of a band being turned on by its fans (also yes). For years, it was a dividing line amongst a fan base otherwise monolithic in their love for everything the band put out.

I didn’t buy this record right away. In fact, I waited some time before picking up the CD, and even then it was at a pawn shop in one of Portland’s suburbs. What a waste. The record is different from the previous three but no less excellent.

A garbage shot of the start of an amazing show. Photo by me.

In the fallout, the band split up. They reunited for 2017’s Riot Fest, and I consider that show one of the best I’ve ever been to.

And for all the thrashing and wailing about “Dear You?” The setlist had quite a few tracks off the album, and the crowd never missed a beat.

More:

“The word ‘sluttering’ means a kind of drunk muttering,” he added. “I actually defined it once as ‘pontification under duress.’ There was an angry love triangle and then an elaborate revenge plot designed to incur maximum humiliation. It succeeded horribly and I wound up in the hospital in Concord.”

Read the rest of the article here.

Listen:

“Sluttering (May 4th)” by Jawbreaker | Dear You, 1995

Click the record to listen on the platform of your choice:

What’d you think of this one? Are/were you a fan of the band? If so, what side of the line were you on back then?

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Sound Advice: 02. Apr. 2025

by KevinLeave a Comment on Sound Advice: 02. Apr. 2025

The flood of great records continues! Today we’re taking a quick look at the latest from Throwing Muses, Miscellaneous Owl, and Ministry

Longtime readers may recall that I reviewed 100 new (to me) records last year. Because I’m a glutton for punishment love music, I’m doing it again this year. This is the latest in the series.

Good morning!

Today we’re taking a look at the latest from Throwing Muses Miscellaneous Owl, and Ministry

Every year, I celebrate all the great music we’ve been gifted while worrying that next year will see the other shoe drop. I first did that in December 2020 and have been proven wrong every month since. Not only are there a ton of releases steadily coming out, but it also transcends genre or any other artificial guardrail we try and put up—

In other words, a ton of good stuff is coming out, and there’s something for everyone. It’s almost overwhelming— but in all the best ways. Below is another batch that caught my attention recently.

Let’s get into it!

Throwing Muses- Moonlight Concessions

The first time Throwing Muses rearranged my mind was in May of 1989. They were opening for New Order, of all people. Being labelmates makes for strange bedfellows, and their sound was unlike the headliners’ and a world away from anything else I’d heard at that point. It was enchanting, and I’ve never really stopped listening to them since.

Over 36(ish) years since Throwing Muses has lived many lives, and their sound has checked just about every box. There’s been melody. There’s been noise. There’ve been experiments that bordered on shoegaze. There was a stint as indie darlings.

The constant here is change, and for the band’s 11th record (and the first since 2020’s Sun Racket), they went back to the basics. Whereas its fuzzed-out predecessor was fueled by amps and electricity, Moonlight Concessions is human-powered. At its core, this is an elemental record. Throwing Muses aren’t exactly synonymous with excess, but even by their usual standards, this is a stripped-down record, with not a note or space to spare.

The opening track, “Summer of Love,” sets the mood early and would feel right at home soundtracking a noir thriller on HBO or the slightly sketchier side of New Orleans. Indeed, Nola gets a shout on “Drugstore Dramatic.” It might be just this writer, but in a lot of ways, Moonlight Concessions feels like a record Dr. John might’ve made if he was from Rhode Island and played guitar.

If you’re holding on for some bright sunny pop here, you’ll be disappointed. It’s in short supply. There is no “Not Too Soon” equivalent on this record. That’s a good thing. The best version of Throwing Muses is the one that’s just a bit off-balanced and just a little disorienting. This is a band that has never really concerned itself with the boundaries of convention.

At the show I mentioned above, the first thing I noticed about the band was how understated yet potent David Narcizo’s drumming was. I was still under the illusion that I, too, was a drummer, and watching him play (no cymbals!) was inspiring and intimidating. Here, his playing is even more minimalistic but no less fantastic. It’s much more percussion than drumming. Pete Harvey joins in, and his cello is a welcome addition. It all makes for a reserved atmosphere.

All these elements orbit frontwoman Kristin Hersh, her guitar, and plaintive vocals. The former is acoustic and understated. The latter are unmistakable and alternate between effusive and erratic. Sedate and snarling.

In an interview with Paste, Hersh stated:

“I don’t know why anyone else would know it was a return to form, but it is,” she shrugs, “because these songs—songs like ‘Drugstore Drastic’ and ‘Summer of Love’ and ‘Libretto’—were songs that Throwing Muses used to sound like before we made our first record. So, this is a return to form that no one would know is a return to form. But, you know, we used to sound like that!”

Muses’ sound has always been a bit off-kilter as if looking through a slightly distorted lens after having been in the sun for a few minutes too long. It’s a basic tenet of their sound, and in that regard, Moonlight Concessions is more of the same. And I’ll take all of that you got.

Back to basics…back to what they used to sound like. Both fit. Both make for a great record.

(Check out Moonlight Concessions here)

Miscellaneous Owl- The Cloud Chamber

Februarys here in America’s Dairyland are bleak. By that point, the novelty of winter has long worn off, and the world has descended into a monochrome of white (and salt). It’s enough to drive someone to drink. Fortunately for us, it instead inspired local artist Huan-Hua Chye (performing as Miscellaneous Owl) to take part in February Album Writing Month.

Things kick off with the upbeat (and this writer’s favorite) Tender and Laughing.

With lyrics like:

“Everything becomes a string of stars

Everything becomes the smell of rain

Everything we love will fall apart,

Everything we lose comes back again,”

“You and I Are Earth” feels like a love song to someone else and the seasons.

“The Wounded Moon” is a lilting, almost lullaby that showcases her vocalist strength. From here, we jump to “Oh Sister,” which sounds like a graduate of the same finishing school that gave us Depeche Mode’s Speak and Spell. It’s a treat. “In Clover” is a bop (albeit with some brutal lyrics) that will get stuck in your head before you know what’s happening. “Spooky Action at a Distance feels purpose-built to be closer.

Those jumps happen often throughout the record but are never jolting. The tracks vary from light and airy to softer and subtle, but they all fit well together and feel like part of the whole.

The latest in a sizeable discography, The Cloud Chamber shows Chye at her best.

(Listen/grab your copy here)

Ministry- The Squirrely Years Revisited

In May of 1983, Ministry recorded With Sympathy. Frontman Al Jourgenson then spent the ensuing years telling anyone who’ll listen that it’s awful. If the “Make Ministry synthpop again “memes are anything to go by, many people never go to the memo. They’re also now getting what they want…kind of.

After With Sympathy, Ministry recorded Twitch and then began releasing a series of industrial and metal records, both as Ministry and with side projects like Revolting Cocks. All well and good until you make the same record several times in a row. The first time you hear a record like The Land of Rape and Honey, it’s amazing. But it only takes a few records to see that Jourgenson was on autopilot. For me, it was like the music version of the law of diminishing marginal returns.

If asked, I’m definitely on #teamsynthpop here, and that’s why I’m happy to see this record come out. Maybe Jourgenson is mellowing. Maybe he sees the appetite for this music (i.e., profit potential). That said, this isn’t just a remake of With Sympathy and Twitch The tracks have been redone and remodeled. I cringe anytime I hear the word “refresh” used as a synonym for update. But it fits here. You will know you’re listening to gems like “Work for Love,” but it’s not a 100% faithful cover/remake. Same with classics like “Over the Shoulder” and Every Day is Halloween.” Elements have been added, and others taken away. There’s less sheen than the originals and more groove. It’s a great blend of both worlds. This is a return to form for a band that had grown complacent in recent years.

The Squirrely Years is anything but. It’s energetic and alive. It might be a rework of old material, but it never feels stale or reheated. It’s a modern, well-done take on the band’s early work, and it’s their best release in years.

And therein lies the beauty of the record. The Squirrely Years has made Ministry synthpop again.
(Make Ministry synthpop here)

As always, I’d love to hear your thoughts on these records! Did I get it right, or am I way off the mark?

In Conversation: Eric Arsnow of Seances

by KevinLeave a Comment on In Conversation: Eric Arsnow of Seances

The Seances front man stops by to talk about their new record, the Milwaukee music scene, and one of the wildest mashups you’ll ever see.

Eric Arsnow of Seances. Photo: Betsy Arsnow

Good morning!

We’re in for a treat today; Eric Arsnow of Milwaukee-based Seances stops by for a chat!

If you’ve been reading this newsletter for more than a few days, my love of new wave & post punk will not be a surprise. Bands like The Cure, Wire, and New Order all get a lot of column inches here.

I’m also a fan of underrated local scenes that too often get lost in the shadows of places like LA, London, and New York—places like Wisconsin.

So when a record described as [sounding] more like Joy Division than Joy Division does from Milwaukee landed on my radar, I was intrigued. When I pushed play, I was sold.

Like the bands above, Seances have seen their share of (well-earned) ink here lately. “Hours” was featured on ORR playlist #286, and I reviewed the album as part of the March 15th edition of Sound Advice.

Seances is a DIY new wave project fronted by singer and bassist Eric Arsnow, but he’s not solo. Rather Seances is a collective of area musicians from groups like Tigernite, Devils Teeth, Fight Dice, and Faux Fiction.

The presser describes the record in part as:

“…conjuring charming post-punk anthems who lyrically found its inspiration from horror films, the supernatural, and by intense experiences of déjà vu – the inexplicable feeling of emotionally recognizing a place even though you’ve never been there before, in different parts of the world and the people those experiences are shared with.”

That checks a lot of boxes, but I was especially intrigued by the project’s origin story. I’ll let Arsnow tell that story, but the short version is he went into a show, and walked out with an outline for a record. Another case of inspiration striking where/when you least expect it.

In a wide ranging chat, Arsnow shares the record’s orgin story, what the Milwaukee music scene is like, and what’s next for the band. He also dropped one of the wildest mashups I’ve ever heard of into the chat, so make sure to read to the end for that! While you’re here, make sure to give Power is a Phantom a spin.

Our conversation has been lightly edited for clarity and flow.

Help us spotlight great bands like Seances!

Congrats on the new record! For those who don’t know the story, can you walk us through how Seances came together?

Thank you! I’ll definitely dip into this a bit more in more depth in a follow-up question, but simply put, this has been a dream project for me to make.

Seances began as voice memos, and they sat around on my phone for like 6 months with me debating if it would be worth pursuing. At the time, I was rather busy with a couple of bands I was in. I reconnected with my buddy Jason Kartz, who is a killer guitar player. He contributed to the song “Fade,” and I quickly saw the potential in the record.

I love making DIY basement records and eventually pulled everything together from writing, recording, and mixing in a few months. Jason continued to contribute guitar to several of the tracks, and eventually, I asked Bex to join in with some of her vocals, taking over some of my parts.

Many of the records I was inspired by were recorded rather quickly, so by design, I wanted to work quickly, I didn’t want to camp out in my studio and let my intuition be my guide.

One of the quotes I saw described your sounds as “…sounds more like Joy Division than Joy Division does.” Agree? Disagree?

Ha! Yes, a generous quote indeed, and I’ll totally own it. Bass guitar has been my primary instrument for the past 20+ years, and Peter Hook has always been my top influence. I’ve often found myself in 3-piece bands (Devils Teeth, Tigernite) and found myself in a position where I needed to be a rhythm guitarist as well as a bass player, so Peter Hook’s ability to create amazing and memorable melodies has always been a point of reference for me.

As far as the vocal comparisons I’ve been getting to Ian Curtis, it’s such an honor, and I’m glad to represent the “Midwest Manchester” vibe.

Double-clicking on that for a second, what are some of the bands that have influenced your sound?

There are certainly the easy ones, like The Cure is one of my all-time favorites, New Order, Echo and The Bunnymen, Gary Numan etc. For a few less obvious answers, there’s Fischerspooner’s album #1, 14 Iced Bears’ album Wonder, and James Figurine’s album Mistake Mistake Mistake Mistake. I’m obsessed with production on records, and those in particular served as creative inspiration when working on Power Is A Phantom. I love paying attention to things like transitions, dynamics, and playing around with stereo channels to create some cool listening experiences.

The rough outline for this record came together in just a few hours after seeing The Chameleons in concert. What happened there? Were these ideas brewing for a while, or was the show itself the catalyst?

Yeah, it was wild. I saw The Chameleons for their first Milwaukee show, and I was mesmerized by the wall of sound. I locked into how Vox (formerly Mark Burgess) approached his bass playing and singing. His ability to be a melodic anchor was truly inspiring, while Reg Smithies painted these larger shoegaze vibes with his guitar lines.

When I got home from the show, I grabbed my bass, and the songs started pouring out. It was a true creative flash point, and I just let it all spool out over a couple of hours, making composition notes and capturing bass melodies. It was also super weird for me because it’s the first album I’ve ever written where the foundation was bass guitar. I later found out that Gary Numan wrote Cars on bass guitar and took it as an omen that I was on the right path.

So everything but “Weighted” (that one came together on a road trip) was captured that first night. I actually have some demos that I haven’t even touched yet.

Milwaukee (and Wisconsin in general) aren’t the first places people think of when it comes to music—especially genres like new wave and post-punk. What’s the scene like there? For people outside of our part of the world, what would you want them to know about it?

I LOVE being a part of the Milwaukee music scene. It’s a real badge of honor for me. The Milwaukee scene is truly special and it just keeps growing. We have a large swath of genre representation, which is incredible. Everything from punk to rap to Latin music, and all of it is performed at such a pro level. There are so many good songwriters in this city, and I think being surrounded by your friends who put out good records motivates and pushes you to grow. I’d also be remiss not to say that our music scene also owes a lot to the healthy support from our local radio stations, record stores, and venues. All of that contributes to why Milwaukee’s music scene is such an exciting part of Milwaukee’s culture.

What’s next? Any shows coming up? Touring? What does the rest of 2025/early 2026 look like for you?

I’m currently putting together an amazing band of Milwaukee musicians. Being a part of the post-punk genre also allows me to dip into my love for horror and Halloween visually, so I am creating a big, haunted experiential show for October that will also double as a fundraiser for my favorite local radio station, WMSE 91.7FM. More details to come on that, but it will be a lot of fun. I’m producing a lot of cool video and audio components for the show. I want whatever the live band does to feel more like a larger event; I want it to be super theatrical.

Outside of that, one of the exciting parts of Seances existing as a collective is it evolves. I’m hoping to get some recordings of the band and put out a companion piece to Power Is A Phantom that documents the live interpretations of the songs.

About half of the 2nd record is completed, so I hope to have that ready later in 2026.

Last one, just for fun: I run into you on your way out of Rushmor Records. What’s in your bag?

Ha, I don’t have to pretend at all. I’m a big fan of Rushmor, and am there at least once a month.

Some of my recent vinyl acquisitions:

  • Wugazi – 13 Chambers – Yes, Dan managed to track down some copies of Cecil Otter and Swiss Andy’s insane mash-up of Wu-Tang Clan and Fugazi tracks.
  • The Cure – High 12-Inch Single – This was a must for me because the B-side to this single is Twilight Garden; top of my list of favorite Cure tracks.
  • Sad Lovers & Giants – Lost In A Sea Full Of Sighs – Rushmor has a well-stocked section for the Dark Entries label. This is a great collection of early Sad Lovers & Giants 7-inches.
  • Lhasa de Sela – The Living Road – Ask Dan about this record. He has a great story about bringing copies back to Milwaukee from his trip to Canada. Very cool Latin folk singer-songwriter vibes. Tragically left this world too soon in 2010.

Click the record to listen on your platform of choice.

Power is a Phantom is out now. You can grab your copy here.

You can also connect with the band via Instagram and Facebook.

Thank you to Eric Arsnow for his time, and thank you for being here.

Kevin—

Sound Advice: 13. Mar. 2025

by Kevin2 Comments on Sound Advice: 13. Mar. 2025

The flood of great records continues! Today we’re taking a quick look at the latest from Bob Mould, Seances, Andy Bell, and more!

Longtime readers may recall that I reviewed 100 new (to me) records last year. Because I’m a glutton for punishment love music, I’m doing it again this year. This is the latest in the series.

Good morning!

Today we’re taking a look at the latest from Bob Mould, Seances, Andy Bell, and more!

Every year, I celebrate all the great music we’ve been gifted while worrying that next year will see the other shoe drop. I first did that in December 2020 and have been proven wrong every month since. Not only are there a ton of releases steadily coming out, but it also transcends genre or any other artificial guardrail we try and put up—

In other words, a ton of good stuff is coming out, and there’s something for everyone. It’s almost overwhelming— but in all the best ways. Below is another batch that caught my attention recently.

Let’s get into it!

Bob Mould- Here We Go Crazy

At my day job, one of my coral duties is administering annual hearing exams and helping people find hearing protection that works for them. This is thanks to Bob Mould.

Husker Du’s New Day Rising hit me like a kick to the head and was never played at less than full volume. I liked it that way and loved his power trio, Sugar. To this day, it’s still the loudest show I’ve ever been to. I used to find that post-show ringing in my ears a weird badge of honor. When it was still there after day two, I started to worry. My hearing rebounded (sort of), which marked the point when I no longer cared how uncool I looked wearing earplugs at shows. But Mould hasn’t quieted down. He’s at his best when he’s at full throttle, and on his 15th solo record, he delivers. 

The opener, “Here We Go Crazy,” reminds listeners of the best parts of Sugar. “Fur Mink Augurs” and “Sharp Little Pieces” are equally intense. The songs come at you relentlessly: blast furnace chords, merciless drumming, and sometimes hard-to-understand vocals (especially for those with hearing difficulties). When you listen closely, they often touch on challenging subjects—it would be easy for a sound like this to wear down even the strongest among us. Yet Mould consistently shows us a bit of light (heh).

Here We Go Crazy isn’t exhausting; it’s invigorating. It’s a breath of fresh air at a time when we need it more than ever. Play it loud; just remember to limit your exposure and keep in mind that the most effective hearing protection is the kind you’ll actually wear. (Blow your mind —and hearing—here)

Seances-Power is a Phantom

Post-punk? From Milwaukee? Yes, please! I’m a sucker for a record like this, and this debut from Seances has plenty of it. Bandleader Eric Arsnow went to see The Chameleons play, walked out afterward, and had the outline of this record mapped out in a couple of hours.

You can hear traces of that band here, but this is also an outfit described as “sounding more like Joy Division than Joy Division does.” Listeners will also pick up notes of early Wire and even Franz Ferdinand. The fantastic “Hours” was featured on Playlist 286 and is just a glimpse of what the rest of this record has to offer. (Post-punk from Cream City? You bet.)

Andy Bell- pinball wanderer

It’s been 35 years since Ride’s showed up and gave us Nowhere. The band and the record (re)defined what shoegaze looked like and proved that stark distortion and atmospheric melodies could coexist.

Bell helped pen much of that history with his guitar and made his bones by exploring new sounds and pushing boundaries. That trend continues on his third solo record. On pinball wanderer [sic], he takes us on a long trip with psychedelic, krautrock, and shoegaze stops along the way. “Panic Attack” kicks things off with a steady rhythm that manages to invigorate and soothe simultaneously- a talent Bell has mastered. Bringing disparate elements together and making it all seem natural is another.

Bell is pushing new ground but also takes a look back. On “I’m in love…” Dot Allison and Michael Rother join him as he puts his spin on The Passions’ 1981 track “I’m In Love With A German Film Star.” “Moving Concrete” reminds me of The Units’ “High Pressure Days.”

As with many shoegaze artists, there’s always a risk that the record could wander off into the weeds. I love the shuffling drums and groove of “apple green ufo,” but at 8+ minutes, it veers dangerously close. Bell wouldn’t be the first musician from this genre to get lost inside his own head— but while we see the edge a couple of times, pinball wanderer always manages to pull us back in time. (Click here and enjoy your trip into space)

Rebecca Black- Salvation

Yes, that Rebecca Black. Given her past, I suspect a lot of people will cue this up to hate-listen. They’re gonna be bummed. This EP won’t rearrange any minds, but it holds its own. If you’re looking for a medium voltage dose of synth/hyperpop, this’ll fill the bill. The production feels gimmicky in a couple of spots and overproduced in others. But overall, it’s a pleasant enough ride. Living well is the best revenge. (Click here to be surprised…or have your suspicions confirmed. Either or. )

Monarchy of Roses- Bleeding Over

I found this band not long after the last Sound Advice column. We connected through CuVa BiMö, and they sent over a link to check out. No fuss, no muss. I meant to ask them if they took their name from the RHCP track of the same name—rookie mistake. After hearing this, I doubt it.

Bleeding Over is the Bay Area band’s first long player, and the short version is this: it rips.

The four-piece (Jeremy Arias (vocals/guitar), Andres Juarez (guitar), Cameron Clark (bass), and Austin Kane (drums) deliver 10 tracks of bruising hard rock, but not so hard that it wears out its welcome. Opener, “Million Miles,” comes out of the gate at warp speed, and things never really slow down. If you were lucky enough to have been going to see shows in the early ‘90s, this’ll remind you of a lot of those nights (in all the best ways). Bleeding Over is a record best played with the windows down and speed limits ignored. Watch this space. (Click here and try not to get a ticket).

Patterson Hood- Exploding Trees and Airplane Screams

All good things in time. It’s taken Hood a dozen(ish) years to follow up Heat Lightning Rumbles in the Distance, but it’s worth the wait. Hood, of course, has a second job as co-founder of The Drive-By Truckers keeping him busy.

His fourth solo record finds him in a reflective spot, and revisiting his past. For example, the gorgeous, spare opener “Exploding Trees” is about a storm he experienced as a kid. He’s also brought friends along for the ride, including fellow Alabaman Waxahatchee, Wednesday, and Kevin Morby. On Repeat fave Lydia Loveless joins him on “A Werewolf and a Girl.”

This is an intentionally (?) low-key record made by a guy at a point in life where there’s is plenty of “past’ to mine. Records like this are hard to pull off, but Hood hits the right marks here. (Click here to travel to the deep south)

As always, I’d love to hear your thoughts on these records! Did I get it right, or am I way off the mark?