What do they sound like? Power pop/punk goodness! Man, these guys remind me of someone and I just can not put my finger on it exactly. I’ve been racking my brain and going through old CDs but to no avail. Oh well, I will figure it out eventually and all you need to know is that this is great stuff either way. I could tell by the band’s influences that I was gonna love them…”The Lemonheads, Dinosaur Jr, Jawbreaker, The Weakerthans, Husker Du…”, I mean, c’mon!
If you dig modern stuff like Cheap Girls, Failures’ Union or Tin Armor you can add Sundials to your list of favorites.
The band’s first six songs are available for free download from If You Make It. And of those six, the first three songs will be released as a 7″ on Impermanent Records which I will definitely be purchasing!
When high school friends Blair Shehan and Colby Mancasola formed the band Knapsack in 1993 while studying at the University of California at Davis, little did they know that they would help to create a movement that would be so big that their band would get buried beneath it; never getting the attention or credit they were due.
Shortly after forming Knapsack, vocalist/guitarist Shehan, drummer Mancasola, guitarist Jason Bokros and bassist Rod Meyer released a 7” on the San Diego label Goldenrod Records and took to the road. The band would later become known for their relentless touring schedule, which only helped the foursome build a fan base beyond California. By May of 1994, the band had signed with Alias Records to begin on their debut full-length.
If I told you that a particular band in the 90’s opened for the likes of Jawbreaker, Gang of Four, Counting Crows and Jawbox, while also sharing the stage with Green Day, Ben Folds Five, Nada Surf and The Butthole Surfers, you would have to think that this band would have been pretty successful in that era, right? Sadly, that is not necessarily the tale of the San Francisco Bay area band, Engine 88.
Playing their first show in April of 1992, Engine 88 (who were initially called Engine, but later changed their name to Engine 88 to avoid a legal battle with a Florida band of the same name) quickly built their brand of rapid, quirky rock while also building a solid fan base in their local community. The band’s growth could not have been timed any better, as record labels big and small were flocking to the Bay Area after bands like Rancid and Green Day started selling records by the thousands. In the fall of 1994, in the presence of A&R reps for Caroline Records, the band played a show at the Bottom of the Hill in San Francisco. After getting everyone in the crowd to simultaneously eat Pop Rocks candy as they played their set, they signed a two record deal with the label.
Engine 88 released their debut album Clean Your Room in 1995. Personally, this is my favorite Engine 88 record that I still adore to this day. Clean Your Room brilliantly mixes elements of punk rock with pop and even alternative rock to create a chunky driving sound, drawing comparisons to Fugazi, Superchunk and Pavement. Throw in singer Tom Barnes’ pleasantly peculiar voice and this album is truly unforgettable. Anchored by songs such as stand outs “Mangos”, “The Bottle” and “GTO”, the band churns out great song after great song. To support Clean Your Room the band toured the Midwest and even made it over to the East Coast for a run.
Caroline upped the ante on their 1997 follow-up, enlisting star producer Tim O’Heir to work with the band on the record. The result was Snowman, a record that took a bit of a more melodic turn for Engine 88 from Clean Your Room. This is an excellent record that would please fans of Clean Your Room, but would also allow the band to seek a wider audience. It thankfully wasn’t an overt move or a departure for the band, but rather that small step forward in the right direction. Songs like “Ballerina” and “Manclub” stand out on the record with their poppy, energetic sound. Snowman received great praise from the critics, but it failed to catapult the band to the airwaves of alternative radio that they had hoped for. Engine 88 supported the new record by opening for Counting Crows along the Great Lakes and the Midwest, playing bigger venues the band had seen before.
It was during this tour where the band realized that the dreams they had for Engine 88 would never come to fruition. Now without a label after fulfilling their deal with Caroline, the band felt that they would never be able to achieve the success that they were after and deciding to throw in the towel in late 1997.
Before their demise, Engine 88 had recorded some songs that they were very proud of and decided to release them posthumously. Flies and Death n’Stuff was released in 1998 on Wingnut Records. While very good, some of the songs on Flies sound like the band is trying to channel Sunny Day Real Estate, rather than playing their aggressive and witty brand of punk/indie rock.
Every time I listen to Clean Your Room and Snowman, I ask myself to this day what could have been if Engine 88 had decided to keep charging forward on the road and in the studio. While they may have never achieved the type of commercial success they were seeking, they may have attained more of a cult status like some of the bands they opened for did.
What do they sound like? Pop Punk the way it was meant to sound…jaded and cynical as ever! This is rough and tumble stuff and I’m loving every minute of it! Like Bats are fairly front and center with their influences…The Lawrence Arms, Jawbreaker and all the other usual suspects. But, I’m still a sucker for this stuff when it is done this well and Like Bats are dealing with defeat and matters of the heart in a very unhealthy way. And that of course leads to some great songs. The band has a four song demo available with more releases on the way! Check out the cover of the demo below…very cool handmade packaging.
You know, it is just like me to totally fall for a band only to find out they are breaking up (or going on indefinite hiatus). What makes it even worse is that I have been sitting on this record for months now. But, in a strange way I can see why I slept on this record. The Serious Geniusesplay a familiar brand of indie rockthat at first seems terribly unassuming.
I can remember listening to You Can Steal The Riffs, But You Can’t Steal The Talent soon after getting it in the mail and not thinking much of it. But, as I have listened to the album on repeat this week I must say I was dead wrong. What at first might come off as sounding half-ass has turned into delightfully raw and sloppy. Don’t let them fool you, these boys know what they’re doing. Filtered through the power and passion of punk rock, The Serious Geniuses slowly charm their way in. Throw in a bit of Kinsella styled emo and you have got one hell of a sound. What is so refreshing about this release is it truly feels spontaneous. You get the feeling The Serious Geniuses magically stumbled upon this sound. It’s like four dudes go into the room and start jamming and come out with this. They don’t worry about pristine production or always playing the correct notes. That’s why this record rules and I apologize for being late to the party. So guys please stay together…if not for me, how about for those damn kids? They need you now more than ever!
Boy, they sure don’t make them like they once did. It takes a band like Monikers to come along and reminds you just how good we had it back in the day. The band echoes such phenomenal pop/punk fore bearers like Leatherface, Jawbreaker and Crimpshrine. Monikers are fronted by Ryan Seagrist, former member of one of my all time favorite bands, pop punk legends Discount. Wake Up is the band’s debut full-length and is unabashedly chock full of ’90s East Bay-styled pop punk. This is pop/punk the way it was meant to be…no sheen and no bullshit. The band also has a modern feel that is reminiscent of Lawrence Arms and Dillinger Four. But where their debut EP sounded more like a collection of their influences, Wake Up is a solid and often thrilling jumping off point for kids who may be discovering this sound for the first time. The acoustic album closer “Black” is a great song and draws the album to an appropriate ending. Monikers are gritty, catchy and completely honest and Wake Up is a refreshing listen to say the least.
Good pop/punk and Minneapolis seem to go hand in hand and Banner Pilot continue that trademark tradition with Resignation Day. While the band certainly owes some debts to the likes of Dillinger Four there is also a huge early Lawrence Arms/Broadways influence here as well. The gritty vocals certainly remind one of Brendan Kelly (Slapstick, The Broadways, The Lawrence Arms, The Falcon). But there is also a cool pop undercurrent to the band’s songs. I can hear shades of Screeching Weasel melodies and the old Lookout Record days throughout Resignation Day especially on album opener “Overwinter” and songs like “Speed Trap”. “Empty Your Bottles” and “Milemarker” are awesome tracks that practically beg you to sing along. For fans of snotty pop/punk Banner Pilot is a must hear and Resignation Day is a must have!
Genre: Pop/Punk
RIYL: Dillinger Four, Jawbreaker, The Lawrence Arms
This is rather odd since just this past weekend some friends and I wondered aloud what Blake Schwarzenbach (Jawbreaker, Jets To Brazil) was up to musically, if anything. From a recent Jawbreaker myspace update, Schwarzenbach had this to say:
“Musically, and I think maybe I can speak more clearly about this, I feel as though I am emerging from a kind of muted, reflective nuclear winter. It’s awkward to talk about one’s own music since that is what we ask the music to do; so I’ll say only that it meets my own inner-standard of truth. I believe in it enough to overcome my own fear of making it. Hopefully we’ll find a bassist (a woman, over 30, who rides a bike and can resolve any dictionary disputes that might arise between the drummer and myself) and come to a town near you.”
Yes! I think I will go listen to some Jets To Brazil now! Thanks to What We Hate for the original heads up! Oh, and that cartoon is Mitch Clem of course.
Ah, the many shades of pop/punk. This split between NY’s Red And Blue and MIchigan’s Traffic & Weather is a perfect example of the broad brush of this genre.
Red And Blue are up first. These six songs were recorded by the illustrious Phil Douglas of Latterman. Red And Blue are occupying the more geeky side of pop/punk. Lyrically, the boys are singing about the day to day monotony of life and the restlessness that comes along with that feeling. Red And Blue are sloppy, pop punk fun…nothing more, nothing less.
From the ashes of The Gibbons comes Traffic & Weather. The Gibbons were an absolutely fantastic punk band much in the mold of Jawbreaker and The Lawrence Arms. Traffic & Weather, while perhaps being a bit more dynamic than The Gibbons, are still occupying the same sonic territory. This is pissed off melodic pop-punk with razor sharp lyrics and vocals.
Like a tour through the unending reaches of pop/punk, this split showcases two bands playing a well worn style with power, affection and their own signature. Well done on both sides.
In The Red is the new band from former Gunmoll frontman, Mike Hale. Gunmoll sounded like what you might expect if Leatherface and Jawbreaker had a premature baby. They released two albums and a split or two before going on hiatus indefinitely. Well, Mike Hale moved from Gainesville out to California after Gunmoll’s split and put out a solo album via Asian Man Records in 2007. It was certainly adequate but all Gunmoll fans have been waiting for him to plug back in with another rock band. And now he has done just that with In The Red. After a few split teases here and there, we finally have the band’s official full-length debut, simply titled Volume 1. If you dug what Gunmoll was about, In The Red will will have you foaming at the mouth. In The Red uses Hale’s maturation to the band’s advantage. Showing off a more polished and defined sound, In The Red are sharper than Gunmoll ever was. No worries though, Hale’s vocals still remain as gruff and powerful as ever. Vocally, Hale certainly was a student who learned at the altar of Frankie Stubbs of Leatherface. His throaty screams continue to define his bands with great results. Much like Gunmoll could turn a song upside down on a dime, In The Red are practicing the same kind of anthemic explosions. Volume 1 is a massive success on just about every level. Fans of this style and genre should be running to get this. I am stoked to hear what Hale and his cohorts have in store next.
Short review that really has nothing to do with this record:
Dear Dan Adriano,
Please, for the love of god, will you start your own band already!? Thanks!
Love, Will.
Longer review that has more to do with the actual record:
Fairly or unfairly, it seems as though Alkaline Trio will always be measured in comparison to the band’s first two albums. Goddamnit and Maybe I’ll Catch Fire are two of the most played albums in my entire collection and I imagine that goes for a lot of kids who grew up on pop/punk. After those first two records on Asian Man, the band headed for the greener pastures of Vagrant. Over the next three records, the band’s sound has been smoothed and shined to death. The raw emotion that permeated the first two records was lost somewhere along the way behind black suits and makeup. Now the band makes the leap to the majors with their sixth album, Agony & Irony.
Agony & Irony is an interesting record when you look at all the factors. The band has seemingly dropped the gothier (?) look of the last couple of albums as they appear in actual street clothes in their current press shots. Lyrically, Agony & Irony echoes the band’s earlier more cynical material as they bid farewell to a lot of the darker imagery. But production wise, the album unfortunately continues further along the same path. Quite frankly, when Alkaline Trio songs come closer to sounding like The Killers than Smoking Popes, well, that’s when all of us need to reassess the situation.
There is no doubt that Agony & Irony is damn catchy. Skiba and Adriano still know their way around a pop hook blindfolded. The record is certainly bolstered by Adriano’s more prominent role. He’s given five songs out of the eleven here which definitely seems like a heavier load than previous A3 records. The album is also a welcome shift in lyrical motivations for the most part. But, at the end of the day there is a bit of a hollow feeling left when the last note of Agony & Irony is played. The power and purpose of the band’s songs does not seem to shine through like they once did. All that is left is an enjoyable, yet fleeting affair. I get the feeling that Agony & Irony will soon be forgotten as more albums pile up on my desk. And frankly, that is a shame considering where and how this band started off.
Callum Robbins was born on Janurary 27, 2006. The son of DC indie rock veteran J Robbins and Janet Morgan, Callum was diagnosed with a genetic motor neuron disease called Type 1 SMA, or Spinal Muscular Atrophy 8 months after his birthday. Almost immediately after this was announced the indie rock community responded in the best way it knows how, through music. One example is the 2 Disc, 32 track compilation appropriately named For Callum. Released through the efforts of The Cultural Society, Catlick Records, & Letterbox, For Callum greets the listener with written praise for the mother and father by Robbins Bff and Jawbox drummer, Zach Barocas. It is then off to the music collection.
Thrity year old indie rock fans like myself will be happy to see veterans such as Jawbreaker and Mission of Burma. The former contributed a demo version of their track “I Love You So Much It’s Killing Us Both”. Originally released on “Dear You”, this track has a more cathartic bridge and rougher sound overall; a nice addition to any Jawbreaker fans collection. Mission of Burma contributes a live version of their Cream cover “NSU.” The song starts with a simple pulse on the toms but then quickly blazes into Mission of Burma’s brand of rock noise. The album also features an unreleased track from a personal favorite, The Life and Times. Slow and simple, this track focuses on the bands love affair with their Moog and its humble and ethereal drone. Another favorite track (please no comments Will) is a previously unreleased track from Channels. Channels is Robbins and Morgan’s band completed by percussive wiz kid Darren Zentek. Sweet and sad this track is uncharacteristically Robbins. Multiple guitar tracks torment the listen with poignant pitch bends that are resolved by some of J’s strongest vocal work to date.
The compilation also features several great Minneapolis acts. Icy Shores contribute the melodic rocker “Backseat”. With its powerful vocal hooks, it reminded me of some of post-punkers Juno’s more rocking tracks. Halloween, Alaska’s track “Halloween” makes great use of digital effects against subdued vocals, all carried through multiple song movements. As for Self-Evident, they just plain rock. I found myself listening to “Word As A Verb” over and over again. It is asymmetrical, dissonant and heavy on the drums. Of course I could go on and on about this comp. With over 30 tracks there is going to be something for every type of Indie Rock fan. Do yourself and a beautiful family a favor, buy it.
For more information about SMA, please visit:
Spinal Muscular Atrophy Foundation: www.smafoundation.org
Families of Spinal Muscular Atrophy: www.fsma.org
For people who have followed Face To Face over the years, it sure is wonderful to hear the familiar vocals of Trever Keith once again. As the blitzkrieg of opening track “Cross Your Heart And Hope To Die” blasts from the stereo it feels like a warm embrace from a long lost friend. Melancholics Anonymous is Keith’s unfortunately titled solo debut. Thankfully, the album sheds the singer/songwriter tag, instead going for a full band approach the majority of the time.
It becomes apparent half-way through Melancholics Anonymous that the album owes a great deal to Face To Face’s most controversial release. The ill-received 1999 album, Ignorance Is Bliss, was the band’s attempt to move out of from under the melodic pop/punk constraints. The album was seen as a failure at the time by many fans. So much so that the band let the fans pick the songs for the next record which was sarcastically titled, Reactionary. Through the subsequent years though, Ignorance Is Bliss has won quite a few Face To Face fans over, including myself. And fans of that album and Face To Face in general should find a lot to love in finally hearing Keith again on Melancholics Anonymous.
If you study Face To Face’s excellent covers album, 2001’s Standards & Practices, you can really see where the band’s influences were birthed. On that album, the band covered artists as diverse as Jawbreaker and Fugazi to The Smiths and The Psychedelic Furs. On Melancholics Anonymous those influencesbecome even more apparent. The hints of British pop are coated all over Keith’s solo debut. Perhaps the most telling cover of Standards & Practices is Sugar’s “Helpless.” Bob Mould who had previously fronted melodic punk band Hüsker Dü moved into more accessible waters with Sugar’s finely coated pop rock. Keith emulates that movement here as he settles into a successful groove of pop bombast mixed with brit-pop tenderness. It results in an album chock full of alt-rock nuggets.
Despite Face To Face’s recent reunion shows, Melancholics Anonymous prove that Trever Keith will be just fine when he finally decides to leave Face To Face completely in his past. Granted, if you never liked Face To Face then you might want to move on before you start. But, if you ever had a soft spot for the band then you should at least give Keith’s Melancholics Anonymous a try. It might just surprise you.
The Gaslight Anthem have skyrocketed from obscurity to being one of my favorite bands (and isn’t that what it’s all about?). Sink or Swim was one of my favorite albums of 2007 and my love for the band only increased after seeing them live twice last year. The band returns with a 2×7″ and four new songs right on the heels of the band signing to Side One Dummy. First off, the packaging is tremendous here. Was it necessary for just four songs? No, but a gatefold 2×7″ with red colored vinyl is just too damn cool.
The ascension of The Gaslight Anthem has astounded everybody (including the band) but it certainly is well-deserved. If Sink Or Swim didn’t convince you maybe four more great americana-laced punk rock tunes will sway you. Señor and the Queen picks up exactly where the band’s tremendous debut album left off. Only problem is that it’s too damn short. Four songs? I want so much more! If you have been around here for a while you might remember my ill-fated blog, Jeans And A White Tee (that still lives on, in my head at least). So, obviously, the closer here, entitled “Blue Jeans & White T-Shirts” is a definite favorite of mine. Wild hearts, blue jeans & white tee shirts! God, I love this band.
I mentioned in my review of the Seattle’s Speaker Speaker’s EP here, that a full length was already recorded and waiting on release. Well, now we have the release of Call It Off. The album was produced by J. Robbins which might be a bit misleading at first. This is not Dischord/DC influenced indie rock in the slightest bit. Speaker Speaker actually echo the sounds of classic punk like Ted Leo, The Buzzcocks or even the power pop/punk of 90’s era Lookout Records. But, to be more exact, Speaker Speaker sound an awful lot like their Washington state brethren in the sadly defunct pop/punk band, Sicko. While Speaker Speaker are not as over the top humorous as Sicko, the two bands share a wealth of similarities. Call It Off is a fast paced affair as the band rarely takes their foot off the gas pedal. The band also reminds one of Portland’s Thermals in the way their attack their songs. But a lack of tempo shifts can spell doom for any album no matter how strong the songs may be. For the most part though, Speaker Speaker do an excellent job in keeping the listener’s attention. Songs are able to stand on their own and the band’s pop chops continue to shine through no matter the direction the band pushes towards. Still, even though this is the kind of stuff I usually fawn over, Speaker Speaker have not fully won me over yet. The trio certainly have the songs and the ability to put a big fat grin on your face but something still seems a bit lacking here. I hate to be so vague cause I have listened to Call It Off numerous times now and it is always an enjoyable affair. So, I guess I’ll just chalk it up to my own ignorance and go ahead and recommend Call It Off. Hell, you could do a lot worse. One side note, the album artwork by Jesse LeDoux is impressive.
In The Red
Short review that really has nothing to do with this record:
