Tag: rock

For The Record: 06. April. 2025

by KevinLeave a Comment on For The Record: 06. April. 2025

And now for something completely different

Instead of the usual For the Record essay, I’m sharing a Q&A I recently did for the site I Have That On Vinyl. If you were on #MusicTwitter at all, you likely recognize that name, or rather Michele, the one-woman powerhouse behind it. She’s since moved to Bluesky, and when she’s not rooting for NYC sports teams, she’s shining a light on other people in the music community. People like us. Her website is a goldmine of great writers, artists interviews, and her own reflections on a lifetime of loving these wax circles we all hold so dear.

She’s also created a Patreon offering even more exclusive content. All of it is well worth your time and space in your content diet. IHTOV is one of my “must reads,” and it was an honor to be included.

We’ve had a lot of new folks join us recently (hello!), and I thought it would be a good time to pull the curtain back and share a little bit about the person on the other side of your screen…and, of course, some of the records that have shaped the way I think.

Q&A Remix is a frequent column on IHTOV in which people from all walks of life answer a set of questions about their vinyl collection. Today we welcome Kevin Alexander.

Have you ever bought a record just for the artwork?

Short answer: Yes. Longer answer: I will buy any variant of any New Order release I come across. “Oh, the leaf on this version of True Faith is just a little more yellow than all the others I already own? Sign me up!”

What is your most memorable vinyl buying experience?

Most record collectors have a holy grail: the one record they hope to find above all others. For years, mine was Pere Ubu’s 1989 album, Cloudland.

I’d first found the record not too long after it came out. In the late 80s, CDs were still a novelty, but someone at our city library decided to go “all in” on them (thank you, whoever you are). It was delightfully eclectic as a place trying to be something for everyone. You truly never knew what you might find and rarely came out with exactly what you’d gone in looking for.

They’d put a lot of effort into procuring them but not nearly as much into keeping them organized, settling instead for a brittle system of roughly sorting by genre and hoping for the best. It was all a wonderful mess purpose-built for happy accidents.

One of those collisions was my onramp to the band.

It was always easy to check this CD out. As much as I’d like to frame myself as some sort of tastemaker or just ahead of my time, the reality was that word traveled slowly from Cleveland. And the people who may have known them from work like “30 Seconds Over Tokyo” or their Dub Housing record were probably not hanging out in suburban Portland libraries.

This record has proven hard to find in subsequent years for a bunch of reasons. If I’m honest, had I known how many years I’d ultimately spend looking for this record, I might’ve just kept it, said I lost it, and paid the fine. Nevertheless…

I wasn’t looking for Cloudland when I walked into my local record shop a couple of years ago—in fact, I rarely know what I’m looking for when I go in. And even when I do, I usually either toss that list, come up with something different, or both.

But the universe has a funny way of gifting you things when you least expect them. In much the same accidental way I came across their CD all those many years ago, I came across a vinyl copy, misfiled under the wrong letter.

What’s the first area you head for in a record store?

The used section. In the store I frequent here, that’s downstairs. New arrivals are on the street level because, of course, they are. It feels a bit like having to go through the gift shop to get to the ride, but all of the gold is downstairs. That’s also where many of the new (used) arrivals are, and if you’re not sure what you’re looking for, that’s where you’re bound to find it.

What’s the most treasured album in your collection and why?

Probably Jawbreaker’s Unfun. They’re one of those rare bands for which I can remember exactly where I was when I first heard any of their records and/or when and where I bought them. I grabbed this after seeing them interviewed in Flipside magazine. I took two buses across the metro area to get there and another two back. I was excited to get home, and the return ride felt like a three-day trek. I put it on the turntable and…promptly had my mind rearranged. I feel like I’ve been chasing that high ever since.

What one record in your collection would you be most eager to share with new friends?

It’s either gonna be Tim or Don’t Tell a Soul by The Replacements. These are fantastic records but also fun (for lack of a better term). I have a hard enough time making new friends; the last thing I want to do is put on a record that’s tough to access or some dirge. I might also show them some of the first pressings I have. After that, I’d just ask what they’re into and see if I have something that meets the moment.

Are you a completionist when it comes to artists? Which artist do you have the most records from?

At the risk of undercutting everything I said about New Order in the first question, no. There are certain artists I will actively look for, but I don’t think things are bad if I’m missing a release or two. I mean, I’m not gonna buy a record I don’t like so that I can say I have ‘em all or anything.

Speaking of which; as many records of theirs as I have, the title of Most Records Kevin Owns belongs to none other than George Benson. Most I inherited, but a few I picked up on my own. A taste for his music is something congenital, I guess.

What is/are your white whale records? Something you have your eye on but haven’t been able to find?

I’m still on the hunt for original pressings of New Order’s Technique and The Cure’s Disintegration. I suppose with enough cash, anything’s possible, but thus far, both of these have managed to elude me.

What is your greatest “score?” Could be on value or just rarity or something you were looking for the longest?

Besides Cloudland, I spent a long time looking for Cheatah’s self-titled debut. Even forgoing my normal rule of trying to find it in the wild, I went to Discogs and even the band’s label. No dice. I recently went to a record sale here in town. I was on my way out the door when something told me to check out one last vendor. I got about three records in when I found it.

Do you have a favorite live record?

The granddaddy of ‘em all for me: Talking Heads’ Stop Making Sense. It’s one of those records that only takes about 30 seconds to tell you nothing will ever be the same again. All these years later, I still find something new just about every time I listen to it.

Who/what got you hooked on records?

My dad. He was never pretentious, but he took the care of his records seriously. Even as a young kid, I had to make sure I cleaned them just the right way before putting them on the turntable, made sure they were upright when I put them back, etc. He was incredibly passionate about music and passed this affliction on to me.

What are your first memories of listening to records?

We had the same stereo I think most people had in the late/early ’80s: turntable, tape deck, combo receiver, and amp. My parents would plug me in (i.e., put my headphones on), and then I’d pick a record for them to put on. Eventually, they’d leave me there to pick/play my own stuff. I’d be there for hours. It was a fantastic babysitter!

What’s your favorite record to listen to on headphones?

Anytime I get new headphones, AirPods, etc. I use New Order’s “Weirdo” to test drive them. The way the sound ricochets between both sides is a good way to see that everything’s working the way it should. After that, it’s usually Stereolab’s Transient Random-Noise Bursts with Announcements. I also inherited a bunch of jazz records, and I will occasionally put one of those on if I’m looking to check out for a while. I’m not a trained musician, so I can’t explain why they sound so good coming through a good pair of headphones, but they sure do.

Tell us a little about your favorite record store.

Growing up in Portland, I could often usually be found at 2nd Avenue Records. At one point, I should’ve just had my mail delivered there. I was down there any time I had a little extra cash. I live in Madison today, and my go-to shop is a place called Strictly Discs. It’s just far enough away from me that each visit is an event. It’s also near the UW campus on a street filled with cool, eclectic shops. As noted, the new records are on the street level, but the magic is at the bottom of some steep stairs; all new arrivals and used vinyl are in the basement. They also sell mystery bags, where you get five records for 2.99. You never know what you’re gonna get, and that’s half the fun. I never leave without at least one.

That’s all well and good, but the store’s real superpower is the employees. I’ve watched them keep 4 or 5 plates in the air at once without batting an eye, heard stories about the records I’m getting and how they relate to them, and more. And while they are most definitely the stereotypical record store people, they are anything but judgmental. No matter what you walk up to the register with, they’re just stoked that you’re excited to go home and play it. That alone keeps me coming back.

What’s the weirdest record you own?

One of my mom’s cousins spent years playing in a band. They would play all over Washington and Alaska. The stories she’d come home with were always entertaining. But I had no idea they’d recorded an album (mostly covers) until I was going through a box I’d brought back from my mom’s house. It was wild to find. I’d always seen her as the proverbial cool aunt—this just sealed it.

How has your record collection and appreciation for vinyl evolved over the years, and what has influenced your tastes?

I started by picking up punk & hardcore records and imports of new wave bands. This was when I was around 13-14. Then CDs came along, and there were years that these records weren’t played at all. As I grew older, I started collecting again, this time appreciating the intention playing a record takes. It’s tactile. It asks you to sit down and actively listen. There’s a friction there that makes it a much richer experience compared to just hitting play on Spotify.

My parents initially influenced my tastes—a default option, as they literally chose what I’d listen to, and even when they didn’t, I was limited to what was in their collection. In school, I was lucky to be surrounded by people with cool older siblings who would bring things home from college or wherever, and we’d be exposed to sounds I’d have never heard otherwise. I still feel like I’m always on the hunt for something new/novel, and as my tastes evolve, so too does my collection.

What’s the last record you played?

Fleetwood Mac’s Mirage

Thank you again to Michele for having me, and thank you for being here!

KA—

Now for some weekend reads:

Various Artists:

Get Me to God’s Country merch is being rolled out. Is this taking advantage of the moment, or was this something Wallen planned all along?

The New Pornographers and Stereolab each gifted us a new track this week. Wire did ‘em one better and announced a pair of releases as part of Record Store Day. And if that wasn’t enough, Bruce Springsteen is teasing a ton of new (to us) stuff as well.

From the Department of Lists: Some bar trivia about Tom Petty’s Damn The Torpedos LP

State of play: More musicians are joining Only Fans to offset the costs of making/performing music. What’s that say about us and the way we value music & the arts?

Listen: Remember King Missle? You probably do if you’re of an (ahem) certain age. Friend of On Repeat 

Keith R. Higgons recently had them on his Center Stage: Abandoned Albums podcast. You can check it out here.

Longer read:

The Cuban people are extraordinarily genuine, kind, and welcoming people who love to talk. In the US and Europe, the art of conversation is a rarity, as most people have their heads buried in their phones. In Cuba, everyone seems to be chatting with each other. As you walk the streets, there is a musicality to the conversations that fills the air.

Speaking of music… I don’t own a lot of Cuban music, but I have a couple of excellent compilations and some Mongo Santamaría albums. However, the music you hear on the streets of Havana today is reggaeton. An electronic, dancey, clubby, Latin-infused form of hip hop that originated in Panama and has since gained popularity throughout the Spanish-speaking Caribbean islands, especially Puerto Rico.

Mongo Santamaría, undoubtedly, is a legend and one of the greatest exponents of 1970s Cuban jazz. My introduction to him was stumbling on his 1975 album, ‘Afro-Indio,’ and its stunning cover art, created by Ron Levine, which immediately sang to me. It’s reminiscent of Mati Klarwein’s glorious paintings for ‘Bitches Brew,’ ‘Abraxas,’ and the lesser known, ‘A New Generation’ by The Chambers Brothers. I bought the album solely based on its striking cover art. Bringing it home, I was not disappointed by the album’s deliciously smooth, groovy, and cinematic jams, and it is my favorite of the four Mongo Santamaria records I now own.

From the ‘Stack: Conversation, culture, SIM cards, and Mongo Santamaria; Michael K. Fell shares his experiences from a recent trip to Cuba.

AV CLUB:

We lost Val Kilmer this week. My first roommate out of school was what could politely be called a fanboy. He also worked at a video store, which meant that at least one VHS copy of one of his films could be found in our apartment at any given time.

I’m the wrong person to give any salient film critiques- my expertise lies mostly in offering up things like “It was really good” and “that sucked.” That said, the thing I most liked about Kilmer’s filmography, was it’s variety. He wasn’t afraid to take the odd role or gamble on a screenplay he found interesting. It takes real skill-and moxie-to do that.

Below are my top 5. I’m mindful these are incredibly Gen X coded. Feel free to laud my great taste in the comments. Or yell at me. Dealers choice.

1. Top Secret
2. Heat
3. Tombstone
4. Real Genius
5. Top Gun (ironically one of the first VHS tapes my family watched after getting a VCR)

Honorable mentions to The Doors, Thunderheart, and The Saint. I might also be the only one in my generation to have never seen Willow.

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?

3×2: Volume 3 | Records For Working Out

by KevinLeave a Comment on 3×2: Volume 3 | Records For Working Out

March 2025: Sam & I bring a few workout records to the table

Good morning!

Today Sam Colt and I are each sharing a few underrated records to listen to while working out.

Welcome to the third edition of our new series! For those of you who missed the kickoff post, here’s a bit of context:

In this monthly series, Sam Colt and I will each share our picks for titles that haven’t received their due. You’ll recognize Sam’s name from our On Repeat and Friends Best of Series and also our Top 100 of all-time series last fall. These posts will adopt the latter’s format; I will make my case for my three picks and my reaction to Sam’s. Sam’s page will do the reverse.

In the inaugural post, we noted that successive editions would narrow things down slightly. Maybe a specific genre…maybe a specific era…maybe a specific…well, who knows!

This month, we’re each making a case for a few underrated records to play while working out.

March is do-or-die time for most fitness goals. New Year’s resolutions and the heady rush that came with them are now collecting dust like that Peloton that’s now a clothes rack. The weather has so far made a good case for procrastination. There have been other things to do. Hygge is nice. Sore calves are not.

Spring has sprung, and it’s time to get after it. If you’re like me, you need some good music to keep going.

When you’re done here, check out Sam’s work at This Is a Newsletter!

Let’s get to it!

KA—

Talking heads- Stop Making Sense

Ok, hear me out here. The granddaddy of all live records isn’t exactly the first pick for a stint on her treadmill. But, like the band itself, you’re not always sure why it works; you just know it does. And who am I to question such things?

Loving this record helps (see below), but its superpower lies in its sequencing. It’s almost perfectly synced with the ebbs and flows of my routine. When I need to take my foot off the gas and level off my pace, there are the slinky grooves of “Slippery People.” How ’bout some rocket fuel? Bring on “Once in a Lifetime.” When I need to convince myself that this is all for a good cause? There’s “This Must Be the Place” — a song that never fails to lift my mood.

A couple of summers ago, the movie was brought back to theaters in a limited-run engagement. I took in a matinee with a handful of other people on a weekday. At one point, I noticed we were all kind of dancing. Well, more like bopping around in our chairs, hoping gravity will do the heavy work of keeping you in your seat. God forbid you have a good time in front of people you’ll never see again, right? I have no such qualms at the gym, and this record goes a long way toward helping me put the reps in.

Sam’s pick and my take: Kraftwerk-Autobahn

Not in a million years would I have seen this coming. My preference for workout sounds generally lean toward ‘the faster, the better’ or ‘podcast.’ But I also see huge value in the music accompanying you more than compelling you, as I need it to do. I also sometimes just want to check the f out while at the gym, and something like this–a record I prefer to play when not sweating–would just be what the doctor ordered.

New Order- Technique

At the beginning of January 2020, I blew out my knee. And just because the universe likes to use me as a punchline, I also broke my foot in a couple of spits on the way down.

0/10 do not recommend.

I had a decision to make: wait 6-9 months for surgery or try and rehab my knee and everything around it, give all of that about a year, and then reassess. I opted for the latter and was thrust into the world of physical therapy—or rather, what it looks like during a pandemic. I had a fantastic team and am lucky I could access care at a time when many people couldn’t. In any other “precedented” time, my days would’ve been filled with trips to the clinic doing leg lifts and jumping on & off boxes.

And I did most of those things—I just did them on my own, often filming myself so my therapist could assess where I was at versus where I needed to be. In many ways, we were both figuring it out as we went.

The pain was manageable, and the task list was doable. The hardest part? Motivation. My PT’s go-to was to tell me just to make it through the first couple of minutes—the hardest part was getting started. If I’d made it that far, the worst was behind me.

She was right almost all of the time.

Some people exercise as a proxy for religion. Others exercise to excise demons. I was relearning how to walk and then jog to reclaim some mobility, and I still needed every nudge I could find.

Enter New Order’s Technique.

With uptempo tracks like “Fine Time,” the pure pop of “Round and Round,” and even downbeat tracks like “Guilty Partner,” there was something for every literal step of my journey back to being ambulatory. It’s one of my favorite records- and let’s be honest; even with so much at stake, I still needed all the incentive(s) I could get.

“Oh, Kevin’s writing about New Order? That’s interesting news.” I can hear you rolling your eyes from here. And look, I get it. This isn’t the first time I’ve written about them, and there’s a greater than zero chance (okay, much greater) that it won’t be the last. Technique is a record that I literally grew up with. I have spent sweaty nights in packed clubs dancing to tracks like “Fine Time.” It kept me company on empty stretches of I-90 each time I switched coasts. Name a life event for me; this band is likely not far away. Soundtracking my rehab? Who else was it gonna be?

Sam’s pick and my take: DJ Shadow- Endtroducing

This record—and DJ– are responsible for shaping so much of what we know as hip hop, yet he rarely gets mentioned in the greater discourse. True heads know, and I guess that’s enough, but it seems like a shame. This record will turn 30 next year, and it still sounds like it’s being beamed back to us from the future. With addictive beats, variety, and killer overall sound, I get why Sam brought this to the table gym. “The Number Song” would make for an awesome walk-up song for any baseball player. Just sayin’.

The Chemical Brothers- For That Beautiful Feeling

Earlier, I mentioned the value of, if not disassociation, at least distraction while exercising. When I run, I have to do it on a treadmill. I must have been absent on the day they taught kids how to pace themselves in PE. Get me on asphalt, and I’m like a comet, burning fast but not for long. So I outsource that work to a machine. On the road, I kept my ears open for self-preservation more than anything else. A lot of people here were absent the day they taught attentive behavior.

That risk doesn’t exist at the gym–and if it does, you’ve got bigger issues–but there’s a different threat: boredom. Some have TVs you can watch, which, ok. Some people swear by that, but it’s never done much for me. I used to watch soccer games, but the running clock (no pun intended) just drove home how much longer I had left. Sometimes, I need a push, and sometimes, I just want to check out and get lost in the bass and BPM. Sometimes, I need both. This record’s got enough of each for all of those.

When I reviewed the record right after it came out, and noted:

Live Again is all gas & no brakes, with a woozy synth line that feels like it will spin right off the face of the Earth if it’s not careful. The Weight feels like Block Rockin’ Beats era Chemical Brothers. It would work as well on Dig Your Own Hole as it does here. The Darkness feels, well, transcendent with lofty vocals, beautiful keys, and a driving beat.

They have also reunited with Beck for Skipping Like A Stone, having previously collaborated on 2015’s Wide Open from their heir Born In the Echoes album. On a record full of strong candidates, this is my runaway favorite. The best music hits you at a gut level and elicits a visceral reaction. This will remind listeners of nights on a pulsing dance floor with friends and parties still going as the sun rose.

Everyone likes a pulsing floor more than the whirring of exercise machines, right? Next time the thought of working out makes you think F that, try this: cue up “Skipping Like a Stone,” and give yourself the first 2:14. Push through that far. If the bass drop at 2:15 doesn’t convince you to keep going, well, at least you tried.

Sam’s pick and my take: LCD Soundsystem- S/T

Hell yeah.

That’s it. That’s my take.

Great record. Big beats and deep grooves in equal measure. I’ve played individual songs by the band before while working out, but never a whole record. This has convinced me to change that.

Honorable mentions:

Mine:

Paul Keeley-Doormatica (EP): It’s worth noting that this (and industrial volumes of caffeine and nicotine) also got me through the last burst of classes I needed to earn my degree.

Metallica-Ride the Lightning: For times I haven’t had industrial levels of caffeine, this is my “break glass in case of emergency” record. As for the band? Trapped Under Ice is peak Metallica. I’ll take no further questions.

Sam’s:

The War on Drugs- A Deeper Understanding: If there’s a situation this record isn’t appropriate for, I don’t know what it is.

Metallica- Master of Puppets: Full throttle, molten metal. Sam’s a distance runner, and I can see using this to get through some of those final stretches.

Depeche Mode—Violator: You might remember this being one of my picks in the Top 100 list Sam and I did last fall. Violator came in at a solid 44. It has good, uptempo sounds, but it also has the added bonus of good sequencing, similar to Stop Making Sense.

That’s a wrap! What are your thoughts on these records? Do you own any of them? Share your thoughts in the comments! Rants, raves, and spicy takes are all welcome. And if you have any ideas on future themes, please share those as well!

Thanks for being here,

Kevin—

An Album of the Month Event You Should Check Out

by KevinLeave a Comment on An Album of the Month Event You Should Check Out

We’ve got a great host and a killer record, all set to go. All we need now is you! Here’s how to join the fun.

Album art courtesy of Slash Records

Good Morning!

Today we’re talking Violent Femmes, and well, how you can talk about the band with other like minded people.

Note: As some of you know, I’m one of the editors for an online music publication called The Riff. Each month we host an album discussion (via Zoom), and this month’s is coming up on Sunday. To be clear, all credit goes to 

Terry Barr who facilitates the meeting, and 

Steve Goldberg, this month’s host. These two are doing the heavy lifting.

As you’ll see below, these are low-key affairs; all are welcome! If you want to share some thoughts, that’s awesome. Wanna just sit back & listen? That’s cool, too.

Either way, it’d be better with you there.

KA—

It’s that time again; it’s time for our monthly album discussion!

One of The Riff’s core tenets is sharing music. That obviously involves writing about it (we are on Medium, after all) but also talking about it together. We do that monthly here.

This Sunday (23. March. 2025) is that day.

Below is my boilerplate explanation of these discussions and the value you’ll get from joining us. Under that are both the record being discussed and the meeting log-in details.

  • Don’t know the record? Doesn’t matter.
  • Not comfortable speaking in public? Me either. And you don’t have to if you don’t want to. Heck, you don’t even have to turn your camera on. It’s a safe space, but you control what you share.
  • Ultimately, you’re part of The Riff; we want you to be a part of this, too.

So check out the “rules” below, and then plan to dial in.

What is this?

For new readers (hi everyone!), The Riff hosts an online discussion every month.

Here’s how it works:

  • A writer (more on that in a second) picks a record to discuss and writes a brief piece about their choice and the meeting details.
  • At the meeting, they discuss why they picked it, offer a bit of a backstory/context, and whatever else they’d like to share.
  • Everyone else on the call can share their own “hot take,” related story, or anything else you think is relevant.
  • At the end of the meeting, next month’s writer volunteers (or is chosen), and the process repeats itself.

NOTE FOR INTROVERTS: If you’d prefer to sit in and listen, that is 110% okay. Keep your video off…stay muted…it’s up to you. It’s a safe place; you can participate as much/as little as you’d like.

This month’s host:

This month’s host is a longtime contributor and friend of The Riff. Steve Goldberg is one of the platform’s leading music writers, and his expertise spans many genres. You can also find him here on Substack, where he writes the incredible Earworms and Songloops. It’s one of my “never miss” newsletters. If you’re not yet subscribed, I highly recommend it!

Cool! So, what are we talking about?

Steve has chosen Hallowed Ground by the Violent Femmes.

From his story announcing the pick:

It wasn’t just the lyrical content that shook me to my musical core. The instrumentation — snare drum, vibraphone, stand-up bass, jew’s harp, marimba, clarinet, saxophone, acoustic guitar — it wasn’t new wave, it wasn’t punk rock, it wasn’t folk, yet it had elements of each. I couldn’t place a label on it or even an easy reference point, and this scared and exhilarated me.

Musical adventure, exploring new sounds, and sharing great music with great people make these discussions a joy. Join us and see for yourself.

Listen:

(Click the record to listen on your platform of choice)

The face & neck of a small sculpture spotlit against a black background. Band name and record title are in block letters in the upper left corner of the cover.
Cover art courtesy of Slash Records

I’m in! How can I join?

Here ya go:

When: Sunday, March 23rd: 4 PM Eastern/ 8 PM GMT

Where: Join Zoom Meeting

Join our Cloud HD Video Meeting

ID: 87634124892
Passcode: Q0=YVbE@

Thanks for being here,

Kevin—

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—

From the Archive: The 7 Latest Additions to My Record Collection

by KevinLeave a Comment on From the Archive: The 7 Latest Additions to My Record Collection


AT THE RECORD STORE SERIES

Note: I’m bringing this series back for 2025, and as part of that, dusting this one off from just pver a year ago. I love seeing what people pick up on their crate digging excursions, and assume (hope?) many of you feel the same way.

P.S. The Matty C. show I mention below was fantastic. If he’s comin’ to your town, make a plan to be there!

You know that old joke about garage sales, “Everything you want and nothing you need?” I think it’s similar with records. We don’t know we need something until we see it. Then, we can’t imagine life without it.

You’re not looking for most records when they find you.

I wasn’t looking for a record sale this past weekend, either. I was on the Harmony Bar’s website, making sure I had the right date for 

Matty C’s show this fall when I saw a sale happening. Tomorrow.

Ten minutes earlier, I had no idea it was going to happen. Now, I was making sure I could make it. Funny how that works.

Like the bar, the sale itself was lowkey. One small yard sign out front was the only hint that something was going on. I hadn’t been here in a while, but not much had changed. The door still creaks, as do the floorboards. The paint is the same. It still smells vaguely of beer and fried cheese curds—just as nature intended. This is, after all, the house that Rollo Steele built.

The crates were in the back room, sharing space with the regular bar stuff- it was Saturday in Wisconsin, after all. The Badger game was on TV, with people keeping one eye on the overhead screens and one on the crates. The jukebox was silent (see previous). Right next to us, a lady loudly recounted her impending divorce hearing to sympathetic girlfriends. If things went down as she described, this guy had a really bad Monday. A toddler dropped a record on the floor.

There was also a family eating lunch, oblivious to everything around them. I didn’t eat.

Four vendors had their crates set up in a U-shape. The first of the four had far and away the biggest selection and highest quality stuff. Worth noting that he had a LOT of jazz records. Not my specialty, but this would’ve been a field day for the right person. Everything was priced to move at $5 or 5 for 20 unless otherwise marked.

The dB’s Like This was the first record out of the gate. It’s a classic, and for my money, ‘Love is For Lovers’ is the quintessential pop song. I already own it, but this one was in better shape. It’s also almost impossible to find their music online (which is, I suppose, ultimately a good thing, but that’s a story for another day).

Did I really need a second copy? After spending some time in my pile, I decided I did not.

I also came across a copy of R.E.M.’s ‘Life’s Rich Pageant.’ Some of you may recall my looking for this for a while. Several months ago, I excitedly grabbed a copy at a nearby secondhand store, only to get home and realize it was a different record inside. That’s what I get for not checking. On the plus side, the (now empty) sleeve looks nice on my wall.

This time, I did check, and while in great shape, it didn’t seem worth the $125 sticker price. The show must go on. Quite a few other records spent time in my hands but were put back for one reason or another.

Below is the list that made it out the door with me.

Tom Verlaine- Words From The Front (BSK-3685, 1982)

Verlaine’s solo work is a bit of a blind spot for me. I know Television, and I know his self-titled debut. But after that? Nada. So, this was a low lift risk, and it paid off. I’ve only spun it once so far, but my early impression is that it’s on brand for him and in line with his other work. For those well-versed in all things Verlaine, I’d love to hear your thoughts on where this sits with you.

Romeo Void- Benefactor (ARC 38182, 1982)

The story of Romeo Void can be summed up in three and a half words: What might’ve been.

The band was on a rocket ride to the top, with a unique sound and fantastic frontwoman in Deborah Lyall. They had a hit on their hands with ‘Never Say Never’ and its risque (for 1982) line of ‘I might like you better if we slept together.’ All systems were go. Until they weren’t.

So what happened?

We’ve talked about it here before, but the short version is MTV happened.

Video Killed The Radio Star might’ve been the first video played on MTV, but Romeo Void was a band that would end up living that narrative.

The group had every ingredient for success; critical praise, great storytelling, a dynamic singer, a fantastic sax player in Benjamin Bossi, and an EP produced by Ric Ocasek.

They checked a lot of boxes. So what happened? MTV happened. And unfortunately, that sent labels looking for bands with a certain look. Singer Deborah Iyall didn’t fit that mold, and the band’s label made the decision to stop supporting them. The term ghosting didn’t yet exist, but looking back, it certainly fits.

Today, most people only know this track. A few more will recognize “A Girl In Trouble.” but they were so much more than one-hit wonders—a point again driven home while listening to Benefactor later that afternoon. An incredible new wave record from start to finish.

The Pretenders- Get Close (92-54881, 1986)

Get Close is the fourth outing by the third iteration of the band. And while (to my ear) it lacks some of the grit & spark of the first couple of releases, it’s nonetheless solid. Plus, it has “Don’t Get Me Wrong,” one of my favorites and one many of us contributed as a suggestion for last summer’s crowdsourced wedding playlist.

Nancy Wilson/Cannonball Adderley-S/T (T-1657, 1961)

As noted, there were a ton of jazz records, most of which I flipped right by. Cannonball Adderley always stops me in my tracks. This was no exception.

The hype sticker notes that it’s “41 mins 59 seconds of jazz!” That’s my kinda odd specificity. Couldn’t they squeeze out an extra note to make it an even 42 minutes?

Aztec Camera- Backwards & Forwards 10” EP (1-25285, 1985)

I’m not that big of Aztec Camera or Roddy Frame fan. I love ‘The Crying Scene,’ but that’s pretty much where it begins and ends. The vendor noticed my looking at the album and mentioned that this was the one where they take on Van Halen’s ‘Jump.’

Sold.

O.M.D.- The Pacific Age (SP-5144, 1986)

By 1986, OMD were on their 7th record, The Pacific Age. Produced by Stephen Hague, it bears much of his hallmark style and took the band in a more sophistipop-y direction. It was my on-ramp to the band (thanks, Columbia House!) and is also home to “We Love You,” my favorite track by the group. Critics hated it. So did the band, with Andy McCluskey calling it the band’s ‘musical nadir” and describing it as one that just doesn’t sound like them. I hadn’t heard the whole thing in probably 30 years, but I remember really liking 3-4 tracks and fast-forwarding through everything else. It can’t be that bad, right? For $5, I’m willing to find out.

John Hiatt-Bring The Family, (SP-5158, 1987)

This was in the $1 bin, which is a crime. I could’ve sworn I already had a copy1, but there was no way I was going to let this languish in any defacto cut-out bin. Not on my watch. Any record with ‘Memphis In the Meantime,’ ‘Thing Called Love,’ and ‘Have A Little Faith in Me’2 deserves a forever home. And now this copy has one.

So how about you? Found any good records lately? Have any thoughts on the ones I picked up? Share your thoughts in the comments!

Become a friend of On Repeat Records!

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?

Sound Advice 01. March. 2025

by KevinLeave a Comment on Sound Advice 01. March. 2025

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 Horsegirl, CuVa Bimö, Immersion + SUSS, Brief Candles, and Drop Nineteens

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

Let’s get into it!

Brief Candles- Unfinished Nature (2024)

There is a clip around social media where a GenZ record store clerk shares her favorite shoegaze records. At one point—and I’m paraphrasing here– she notes that the line between dream pop and shoegaze is fluid, and no one really knows how to define it, other than you know it when you hear it. I mention this because Unfinished Nature from Milwaukee’s Brief Candles does a great shop bouncing between both.

With its skittish riffs, opener “Remote View Finder” manages to work in a little post-punk while we’re at it. Follow-up “Rewards” was featured on ORR playlist 283; it still hasn’t fallen out of heavy rotation. If you’re a fan of Drop Nineteens (more on them below), this will remind you of the band at its most wistful, with just enough feedback to keep you from floating too far off into space. On tracks like “Murky,” the music takes a much more sturdy tone.

The band–and record–are more than just a bunch of effects pedals and reverb, of course. There are elements of psych, Krautrock, and more here. Fans of Yo La Tengo might also see some similarities peeking through.

Call ’em what you want: On Unfinished Nature, the band is locked in. (Listen here)

Immersion + SUSS- Nanocluster, Vol. 3

My love for Wire is no secret, nor is my love for frontman Colin Newman’s solo work. Immersion is his project with partner Malka Spigel (Minimal Compact), and Vol. 3 is the latest in their Nanocluster series. For this release, the electronic duo has partnered with the ambient Americana trio SUSS, and the result is fantastic.

Both groups play off each other well here. Immersion’s electronic & post-punk influences complement Suss’ painting of expansive soundscapes and vice versa. Together, Nanocluster Vol 3 is, at times, the perfect soundtrack to a desert sunrise. Other times, tracks like State Of Motion channel the energy of a new (urban) day and compel you to move. The video also includes early morning footage from an airport, and I can confirm that it captures that feeling to a tee. Either way, this record is an incredible (I had to squeeze in one more superlative there) way to set the tone for your day. I’m not usually an “ambient guy,” but this one proves the exception to the rule. Being a Wire fanboy might skew things a bit, but don’t be surprised to see this on my OATY list at year’s end. (Listen here)

Drop Nineteens- 1991

Before Delaware…before 120 Minutes…there was…1991. First recorded before the band had a record label, this collection of demos was recorded, put to tape, and then largely forgotten for the next three decades.

The band’s now back, and was time to bring these recordings back to life. With only a light touch editing-wise, they’re as raw as you might imagine— these are demos made by 18/19-year-olds in their dorm rooms!—but are a great look at what the band would become just a short time later. In particular, “Shannon Waves” (also featured last week) is a standout. This one might be best described as a record for the fans, but listeners new to the band will also find a gem or two in here. (Listen here)

Horsegirl- Phonetics On and On

The follow-up to 2022’s Versions of Modern Performance sees the band embracing a much more stripped-down sound. In the ensuing three years, the band members finished high school, left Chicago for NYC, and started college. In many cases, that’s the first red flag that a record will be pretentious and insufferable. Not here, though. With Cate Le Bon on the boards, everything here serves a purpose, and there is no excess. The result is both familiar and new, almost as if the trio is insistent on not being pigeonholed into any given sound. There’s no shortage of jangle here, but there is plenty else to explore as well. They’re growing up but aren’t afraid to still embrace whimsy. (Listen here)

CuVa Bimö- CB Radio

We next travel to the Best Coast, or more specifically, the East Bay, and check out Oakland’s CuVa Bimö and their debut, CB Radio. Like any good post-punk/post-whatever record, this has jagged guitar riffs and frenetic vocals. There are new wave and goth elements here as well.

“Bad Jacket” and “Crank Wave” see the band at their snottiest, right down to the “I know a few things that are true / That new jacket makes you look like a tool” lyrics on the former. “Post/Wall” is twitchy in just the right amounts. With its furious chords and fast/slow/fast/slow cadence, Doonm Loop reminds me of all the 7″ records I used to pick up back in the day and served as a reminder that I should dust ’em off and share them with my neighbor.

There’s also the requisite fist-shaking at the state of affairs in 2025 America. Any more, those are table stakes, and this record clears the bar from start to finish. But I also want to highlight drummer Ricky Cunliffe’s work here. It feels like it could explode anytime, yet it never does. It’s more animated than one might usually see from a band swimming in these waters. Honestly, it feels like there are a couple of drummers back there. He and bassist Jake Bilich keep things chugging right along down the track.

CB Radio is a harder sound than just about everything else coming out of SF/Oakland these days, And I’m here for all of it. Hopefully, this is the first of many more records by the band. (Listen 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?

Support indie journalism!
by KevinLeave a Comment on

Bloomington Indiana: On this day in 1954, a baby was born to an ophthalmologist and teacher.

Almost from the word go, the child showed an interest in art-especially music & the radio. He was also hyper. Like, really hyper — enough so that his parents referred to it as “monkey hour,” and sent him to a psychiatrist for several years.

After a brief stay in Massachusetts, the family settled in Pasadena, Ca. Now in his late teens, the boy began singing in a band called the Red Ball Jets.

Another band named Mammoth featuring brothers on guitar and drums would occasionally rent the band’s PA system. Through a few twists and turns, the singer joined the brother’s band, they changed the name, and the rest is history.

The brothers? Eddie & Alex Van Halen.

The singer? David Lee Roth