New Zealand duo “Earth Tongue” have been on a roll this year. Their new album Dungeon Vision is a fuzzed-out Heavy Psyche record that evokes the spirit of a band like “Black Sabbath,” but also offers a more melodic take on genres such as Doom Metal and Stoner Rock, and following the album’s acclaim, the band have released another new track titled “Dimly Lit Cadaver.” This track was made for “King Gizzard & The Lizard Wizard’s” Field of Vision compilation, which compiles new tracks from artists on this year’s “Field of Vision” lineup. You can listen to “Dimly Lit Cadaver” below:
There was a point in time when “The Strokes” ruled the world. When the band released their debut album Is This It in 2001, it seemed as if the five boys from NYC appeared out of nowhere and were quickly on everyone’s radar whether they liked it or not. Music publications dubbed them the “saviors of rock,” and this prompted record labels to sign just about every Garage Rock-tinged band with “The” in their name. To quote Alex Turner of “Arctic Monkeys,” “I just wanted to be one of The Strokes.” We all wanted to be them. I know I did. I dressed like them, and even grew out my hair, and lucky for me, my hair is naturally curly, so I was walking around thinking I looked like Fabrizio Moretti. Though the band undoubtedly reaped the benefits of their newfound success, the pressure of being the “saviors of rock” inevitably took its toll. The band’s sophomore album Room on Fire also received acclaim, but it seemed as if the band were playing it safe by sticking to the formula that garnered them much success on their debut album, and playing it safe in a fickle music industry can only last so long. Aside from spawning some killer singles, their very bloated third album First Impressions of Earth flopped, and we didn’t hear anything new from the band for six years.
In 2011 the band made their triumphant return with their fourth album Angles. Well, maybe not so triumphant. The album’s reception was split between people who lauded the band’s departure from their early work, incorporating elements of New Wave and Synth Pop, and people who felt the album was disjointed due to the recording process in which singer Julian Casablancas recorded his vocals separate from the band. Their following album Comedown Machine received an even more lukewarm reception, and was the band’s most polarizing work, until now.
The band’s new album Reality Awaits is the new champion of polarization. This album is interesting, off-putting, at times catchy, at times grating, and utterly fascinating for the mere fact that some of the artistic choices made on the album are questionable, mainly Julian Casablancas’ overuse of autotune. Casablancas is no stranger to autotune. He has utilized it in a very creative way with his band “The Voidz,” but on Reality Awaits, it seems as if he’s intentionally trying to obliterate these tracks with the most hard to listen to autotune you’ve ever heard. Is this career suicide? Is this Julian telling us to never ask for a Strokes record again like some people online believe? I would think that myself if the instrumentation wasn’t so damn catchy and the lyrical content wasn’t so damn interesting, because aside from the overuse of autotune, which is unfortunately the only thing most people will take away from this record, there are some cool moments, which makes me believe Julian still has faith in “The Strokes.”
The album opens with “Psycho Shit,” a slow building epic that criticizes the current state of politics, modern warfare, world leaders, and celebrities who fail to use their platform to speak out against injustice, and though lyrically topical, the one thing that overpowers the rest of the song is, AUTOTUNE! When I first listened to this track with my family in the room it sounded so bad that my two year old daughter walked away from the speaker, and she’ll dance to the sounds of our fucking washing machine, but after repeated listens I grew accustomed to the autotune, which is the case for the rest of the album. However, being acclimated to this world where Julian sounds like a drunk “Daft Punk” doesn’t necessarily make this song sound better. Instead, the autotune robs us of a powerful vocal performance that could have complimented the intensity of the instrumentation. The autotune isn’t all bad though. It actually works quite well on the track “Lonely in the Future,” but the problem with this song is the God damn lyrics. This is the most bitter Julian has sounded. He disses artists like The Weeknd, Drake, and Harry Styles for copying his style, and instead of seeing the compliment that people being influenced by him is, he goes down the “I did it first” route, but the most embarrassing moment on this track is without a doubt his jab at music critic Anthony Fantano for simply having an opinion on his latest “Voidz” album. This isn’t the scathing diss Julian might have envisioned in his head. It’s just a sign of insecurity. The track “Going Shopping” becomes a catchy tune the more you listen to it, and is a fun critique of consumer culture. The same can be said for the track “Dine N Dash,” which criticizes our society that consumes resources while destroying the environment in the process, and though these are important topics to tackle, especially seeing as how AI is on its way to destroy us, the lyrical content doesn’t make up for how incredibly boring much of these songs are. The deeper you dive into this album, the more you start to realize the autotune isn’t the problem, the real problem is the drab nature of most of these tracks. This album has some good ideas, but most of these ideas are half-baked and have very little replay value.
Say what you will about the band’s divisive body of work, but you gotta admit that it’s impressive that they still have our attention after all these years. Every album release is an event, and we’re sure as Hell going to listen to anything they release, for better or for worse, and given the direction the band went in on this record, especially following their highly successful album The New Abnormal, it’s clear the band are still uncompromisingly doing whatever the Hell they want.
There’s a bone I’ve got to pick with major music publications. For awhile now “Rock” and its countless subgenres have been neglected by your favorite cool and contemporary music blogs and publications, and this stems from the misguided belief that “rock is dead.” Now I’m not here to scream “Rock is not dead!” like a character straight out of a Wayne’s World movie, but the negligence that plagues the modern Rock world is more problematic than you think. Rock is not the zeitgeist, and it hasn’t been for over a decade. In fact, the last movement to reach commercial success other than the short-lived Garage Rock Revival scene of the early 2000s was the Nu-Metal movement, and I’m not even going to mention how embarrassing that is. This is problematic because the countless bands in the Rock world whether it be Post-Punk, Alternative Rock, Garage Rock, Punk Rock, Indie Rock etc. aren’t being pushed to the masses enough, and this failure falls on major streaming platforms and their poorly curated playlists, and most contemporary Rock stations whose heaviest or most cutting edge band they play is “Twenty One Pilots.” This unfortunately leads to less exposure. That isn’t to say Rock bands aren’t thriving in the underground. In fact, this gives countless bands the chance to garner a more devoted fan base, which will weed out the trend-hoppers, and the internet is so vast that you can discover as many bands as you want at anytime. I just would like to see more music publications providing a more in depth analysis when covering Rock bands. This has got me thinking that L.A. based duo “Broken Baby’s” new album Late Stage Optimism would have topped the charts had it been released in the 90s or early 2000s. Not that the album is derivative or overly nostalgic, but there was more of a respectful focus on Rock music in those times. However, don’t misconstrue my old man yells at cloud rant about contemporary Rock music as charity or a ploy to get you to feel sorry for Broken Baby and other bands of their like, because Broken Baby are doing just fine with their explosive, fun, thought-provoking, and infectious music. Their sophomore album Late Stage Optimism is their best work by far, and the perfect example of how to correctly combine attitude driven guitar Rock with Pop sensibilities. The Pop elements come from lead singer Amber Bollinger’s catchy as Hell vocals, and I do mean catchy. She has crafted some of the most sing-along-able choruses I’ve heard in a very long time, but along with those catchy hooks lies her sharp and witty lyrical content. These lyrics refuse to stay in one spot, they tackle important topics but the album never gets too bleak or serious, which may be a reflection on how we awkwardly approach touchy topics or try to exit certain conversations with a nervous laugh, and this might be a complete misinterpretation, but I feel like the frequent sense of humor on this album satirizes the try-hards out there who speak out against injustice but freeze up when confronted with the real deal. A track like “Madonna’s a Dick” has no business being that catchy given the fact that it’s about the unfair treatment women face in the entertainment business where they’re sexualized and faced with double standards, but if you want people to listen, sometimes you have to lure them in with straight-forward catchiness. However that sense of humor and sense of fun are far from performative, because it’s evident that the two have a natural sense of humor. Just listen to the opening track “Get the Piss Up” and you’ll know what I mean. The track is a celebration of those moments when you’re having the time of your life dancing and raging with friends. The catchiest track on the album “Manic Panic” has some clever wordplay that inspires me to write better, not to mention the line “Nada Surf with you” on the closing track “Hand Heat” still blows my mind. These multi-faceted lyrics have prompted me to over-analyze, and the journey has been frustrating and immensely enticing, and I wouldn’t have it any other way. Is the track “Meaniac” about men victimizing themselves and labeling women “mean” when they don’t get what they want? Is the track “Cloud Coverage” about escapism and the many vices we use to bury vulnerability? Am I completely misinterpreting these songs? Am I really being over-analytical? All of these questions arise while the music sounds fully-fleshed out with just two primary members, and this is the result of guitarist and backing vocalist Alex Dezen’s eclectic guitar stylings. This is some of the most unique and utterly infectious guitar work I’ve heard on a record in quite a long time. I believe this album will forever remain timeless. Though it has elements of genres that will remind you of an older era, it still manages to sound modern and features topics that will remain relevant for a very long time, and who can deny the addicting personality this album offers? If there’s an album that can get the masses to pay attention to the Rock world it’s this one, and I feel like this is the step in the right direction, but don’t simply lump Broken Baby in a category, because Broken Baby are Broken Baby, and no one else.
Just like that, “Broken Baby” release one of the best love songs i’ve ever heard. Now before you roll your eyes at the term “love song,” let me assure you that the L.A. duo’s new single “Hand Heat” isn’t your typical glamorized Hollywood romanticism, nor is it a cynical look on relationships and romance, instead it is a Punk Rock love story that stays away from the “we belong together forever” cliché’s and replaces them with those real life feelings of love. You know, those moments of staying in and lying on each other on the couch while deciding what to watch next. You don’t know what the future holds, but you know this is where you want to be at this very moment. The track will appear on the band’s upcoming album Late Stage Optimism which is scheduled to be released on September 24th via the band’s own label “Poor Man Records.” You can watch the music video for “Hand Heat,” as well as pre-order the upcoming album below:
I’ve never heard the phrase “get the piss up” before, but it sounds exciting, and it sounds like a fun night of dancing terribly, getting a little too drunk, and hitting up Denny’s at 3:00 A.M. because it’s the only restaurant that’s open at that time. After a year of isolation where we were all stuck inside, much of our partying consisted of getting a little too drunk at home and watching bad reality T.V. Fortunately, Los Angeles Garage Rock duo “Broken Baby” made best of the situation and recorded a rager of a track that proves you can have a good time in any situation whether it be at a show or in your own garage. That’s right, “Get the Piss Up” is the title of the band’s new single, and it’s a fun track that offers a bit of hope, which is a fun alternative to the general consensus that we’re all doomed. You can watch the music video for “Get the Piss Up” below:
“Tarah Who?” have been on a roll this year so far. Not too long ago they released their superb rage-filled song about the unfair treatment most of us face in the workplace titled “Swallow That Pill,” and today the band have released their follow-up single “Manners.” This track is less aggressive in nature, but no less impactful than “Swallow That Pill.” The song is inspired by lead singer Tarah Carpenter’s mother who was abandoned as a child and raised by nuns who were really strict. “She always puts herself last and tries to understand everyone, which is a real strength. It occurred to me one day that she was taught to be a good citizen, with good manners, but no one really cared for her as a parent would,” explains Carpenter. You can watch the music video for “Manners” below:
“Escape to Plan” was without a doubt the most standout track on “Blue Orchid Reaction’s” E.P. Four Chord Theory last year, and though it seemed like a finished track that needed no improvements, the song got a reworking from the band anyway, and this version sounds more polished than the original. The song is about the frustration and anger toward the failings of politicians who serve their own needs and not the needs of those who elected them. While the E.P. version is a more raw take that evokes the spirit of live shows, the remix is a pristinely produced version that flexes the band’s studio muscles without sounding too overproduced. Don’t forget to listen to the awesome acoustic version as well. You can listen to the “Escape to Plan” remix below:
Venice Beach duo “Movie Club” have been releasing E.P. after E.P. of skillfully structured instrumentals rich in California soaked “Rock” that would catch the attention of fans of “Psychedelia” and “Stoner Rock” since last year. Following their recent E.P. Man O’ War, the band are set to release their debut full-length album Black Flamingo in November. Today the band have shared the album’s first single “Thunder,” and it is another groovy tune that finds the duo doing what they do best, rocking our faces off. The track features bassist Tim Lefebvre (David Bowie, Black Crowes). You can listen to “Thunder” below:
South London trio “PLAY DEAD” are just two singles in and they already show much promise. It’s safe to say we can add the band to the list of Post-Punk scholars who bring innovation to the beloved genre along with “IDLES,” “Shame,” “Hotel Lux,” etc. The band’s second single “Shaun” was released today, and it’s even more infectious than it’s predecessor “Whitstable,” raucously delivering a “Garage Rock” grunginess while the band sings about member Ollie Clarke’s nan’s boyfriend who is described by the band as “a gentle giant with a short fuse who got arrested for punching a man off his bike in Brixton. He enjoys pies, pints, and Coldplay.” Very few of us are lucky enough to get our own theme song, and Shaun now has the perfect one. You can listen to “Shaun” below:
There’s nothing like witnessing a band perform. The chemistry between every member, the ideas that are bounced off each other as each member brings their own distinct quality to the table, it’s a beautiful thing to see and hear, but what’s even more impressive is when a band only has two members. Of course duos are nothing new, but when two people can create a sound that gives off the illusion that you’re listening to a quartet, it’s a massive accomplishment. Meet “Movie Club,” an instrumental duo hailing from Venice Beach, CA. Consisting of members Jessamyn Violet on drums and Vince Cuneo on guitar, their chemistry is infectious as their seamless interplay makes you wonder if they share the same brain. Their new E.P. Man O’ War is no exception. The duo flirt heavily with “Psychedelic Rock” on this record, which feels like a natural progression, and they’ve even incorporated bass thanks to musician Tim Lefebvre (David Bowie, Black Crowes). With this sound the band takes you on a journey with each song, a journey that feels cinematic, which is fitting considering the band’s name. As a matter of fact, the band’s appreciation for film is especially apparent in the music videos for the tracks “Moonbow” and “Bones” which features recurring mysterious white wolves who chase the duo in a Horror inspired style. The band never wastes a second on this E.P. as every track has enough change-ups to veer away from boring repetition, but at the same time they don’t bombard you with over-ambitious grandiosity as these are jams you can sit back and relax to without being surprised by an abrupt dramatic transition. These tracks flow smoothly, but at the same time they’re a spiritual journey if you want to ingest it that way. This E.P. can be a journey, it can be your new favorite music to chill out and smoke a doobie to, or it can be the soundtrack to your commute, walk, or exercise, whatever it may be to you, you can count on this E.P. to never be boring.
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