Tag Archives: New Release

Album Review: Doomtree – All Hands

4 February, 2015 Brian Mc Leave a comment

It takes a lot for me to admit I like a modern day hip hop act.

I’m not trying to sound like a jaded hipster supreme or anything, but I just can’t get into a lot of these hip hop acts out there let alone understand what the hell they are talking about.

Maybe it is because I am getting old. Or maybe it is because I prefer 90s hip hop over anything else (Bone Thugs and Wu Tang will always remain my favs).

I can always make exceptions of course.

Doomtree is easily one of those exceptions.
(Note: Run The Jewels is another – but we are not going to talk about them in this post.)

Hailing from Minneapolis, Doomtree is a hip hop collective full of artists who bring different talents together to create a complex and intricate style of hip hop.

I can’t lie, P.O.S. is how I learned of Doomtree. I was introduced to him years ago and even got to shoot some up clone and personal photos him him during a memorable set at a Warped Tour as he performed literally in the middle of the crowd standing upon an equipment case. Anyone who sings Fugazi in the middle of a rap track is ok with me. Not to mention, he was in Wharf Rats too.

Should I even mention that another member in Doomtree, Cecil Otter, was 1/2 behind Wugazi? Do you see why I dig these guys so much? Perhaps I need to calm down. Nah…

I was introduced to Doomtree’s second release No Kings shortly after and was completely blown away. To be honest, I still listen to that album. It is a timeless collection of awesome with plenty of memorable tracks that have not gotten stale by any means not to mention the “Bangarang” video still rules thanks to Har Mar Superstar.

Doomtree recently dropped an all new album in January called All Hands. This will be their third official album and was actually recorded far away from civilization and cellphone signals. The result is not surprising, an eyebrow lifting album that easily will gather tons of attention.

“Final Boss” started off things so strong with a incredibly likable track that was full of 8-bit beats. Each of the 5 MCs took a turns rifling off lyrics praising their hometown, recognizing talent, talking video games, and just life. The repeating “get up like I never f*cking got up before and I get it like I never f*cking got it before” seemingly pumped this listener up each time it repeated. I thought it was great that the track just ended with Jake Hanson playing a simple riff on his guitar.

You know, I thought I was impressed with the first track, and suddenly I was treated to “My Own Nation”. Wow. I am not even certain I can describe how much I dug this track. I think you will just need to hear it for yourself (see below). The climax of this track is where things got insane.

“.38 Airweight” brought light of Bernie Goetz, a NYC so-called vigilante douchebag who shot and killed 4 young men almost 30 years ago because he thought he was going to get mugged. This track to me was a callout to all of the senseless violence from yesteryear and today.

“Mini Brute” was a mess of sounds that almost seemed to encompass my entire attention, pulling me away from the lyrics, but I just kept fighting to just absorb the poetry. This track was insane. I wish those jackasses in Akron, OH never broke into my Cavalier and stole my mediocre stereo system in 2004. I really would have loved to have the opportunity to blast this track.

Of course “Cabin Killer” had me hoping for Evil Dead references, but instead I was treated to plenty of head-nodding smooth flows. I wish Cecil and P.O.S. both could have kept going for a tad longer, but I am grateful for the Stay Puft reference.

“Generator” may have been speaking about speeding up, but this song just fell short. I appreciated the Atari Teenage Riot electronic-sounding heavy beats, but overall I was kind of bored.

Thankfully “Off in the Deep” jumped out of that rut and returned to awesomeness. P.O.S. Sims, and Dessa all took turns doing what they do best on this track. I am still trying to figure out if they sampled a song behind the scenes on this track as it sounded so familiar. If not, kudos to Doomtree for creating such a likable sound.

“Marathon” closed things with a punk edge thanks to the repeating hook “when it all boils down there’s nothing but bones left”. Maybe this track was not as heavy as the others, but it was certainly the most well-written, especially the final “hashtag No Kings, crash y’alls server.” What a way to end an album.

I can not tell you the number of times that I have gotten myself so worked up over an album only to hear it with pure disappointment. This is so not the case as All Hands does not disappoint at all.

I think the thing I love most about Doomtree is that nothing seems generic or forced. From the lyricism to the beats in each track, you can hear how genuine the pride is. It is not commercial hop hop by any means and really needs to trump some of that quick-beat, lazy written crap that seems to always grab all the attention.

This act has continued to impress me. I would not be shocked if All Hands took them a step or two closer to the spotlight that they so much deserve.

Music, Music Video, New Release, Pop, Punk, Review, Rock

Album Review: The Brokedowns – Life Is A Breeze

16 December, 2014 Brian Mc Leave a comment

Lots can be said about punk act The Brokedowns by this music lover.

First, The Brokedowns released an amazing album years ago that I still listen to often, so chances are, this review may show light favoritism. Secondly, they rule…tons. Lastly, they have not released an album in at least 4 years, so this is something worth getting excited about.

I learned of The Brokedowns back in 2009 when I was flipping through 45s at Blue Arrow Records. I picked up a split 7″ with them and Turkish Techno on it and totally made a blind buy having no idea what to expect. I remember spinning the crap out of that 45. I loved what both bands had to offer.

The Brokedowns hail from Elgin, Illinois and have been creating their own melodic punk rock since at least 2002. They have definitely matured over the years and have mastered their sound throughout their time but without losing their unique charm.

“Joliet, The Maui Of The Midwest” started the album off with a gracious and humorous nod to their hometown area. This song was a straight up jam with a heavy dose of gang vocal opportunities at the end.

Title track “Life Is A Breeze” was a drum hitting, screaming, killer song that was ever so poppy and melodic yet kept that punk edge to it. I loved how this song was just about dealing with the surroundings and admitting things are not that bad.

“Murder Junkie/CPA” was a pop punk jam that to me sounded like a mix of Low Culture and Iron Chic. There was a garage rock sound with the punk vibe that just made this track stand out over the others.

“Everything Is Immoral” was brutal. I loved everything about this track, especially the group harmony just past the halfway mark. It fit so perfectly. I just wish I knew what that intro clip was from. Anyone? Bueller? Bueller?

Without trying to talk about every track on this album, I have to mention how much I loved “Born On The Bayou Too”. The track alone was one of the best on the album. I loved the quick breakdowns and just 90s reminiscant guitar playing.

“Cash For Gold” was a quick fun track, but the video for it was beyond freaking hilarious. The music video titled GG and Merle Get Jobs was more of a short film with “Cash For Gold” playing throughout. A true ode to not only crust brothers GG and Merle Allen, but also to Looney Tunes. The black and white was a nice touch, especially with assisting removing the brown. Scroll down to see what I am talking about. The song was bad ass thanks to the typical Brokedowns flavor throughout I have grown to dig.

For a second there I thought “God Hates Math” was a lost Ween track as it extended from the prior track “I Respect Your Right To Always Be Wrong About Everything” but soon just ignited.

I hope “Keep Branson Weird” was about Sir Branson. I met that dude once in Baltimore. True story. He was nice, but so weird.

Anyways…

Closing the album down was “A Child’s Guide To Black Metal”, a song that may have been toned down a bit versus the others starting ups, but still just awesome, especially once things picked up.

The end of this track left me wanting a copy of the vinyl as backwards lines repeated over seagulls and I am just dying to play the record backwards just to make out what is being said. A true cliffhanger if you ask me.

This is one memorable album by an amazing group of dudes throughout. I really hope more people than me are so over-excited about what I just heard. It rules and is not to be missed.

Head on over to Red Scare Industries and pick up a copy or two.

As promised, here is the video I made mention of earlier. It’s not exactly a safe for work video. To make it tamer, let’s just say them boys have really oily hands… Don’t say I did not warn you. Enjoy!

Acoustic, Folk, Music, New Release, Punk, Review, Watch This

Album Review: Tim Barry – Lost & Rootless

11 December, 2014 Brian Mc 2 Comments

It’s no lie, Tim Barry just dropped one of my favorite albums of 2014.

After hearing it just one time through, I had no choice but to make an immediate edit to my best of 2014 post. I was blown away.

Lost & Rootless, Barry’s fifth studio release as a solo artist, is the best thing I’ve heard from him to date.

The Richmond, VA folk crooner is one of the most talented music writers I consider myself a fan of and he just further proved that to me with his latest effort. To say he is on top of his game is a complete understatement.

Barry, on his website, said the sound to his latest release could be described as “Wooden.” He stated “that’s the feel that I was going for when I picked the songs. There’s violin, voice, a wooden resonator guitar…there’s a very subtle electric bass on one track, but otherwise I wanted to do a wooden record.”

“Wooden” is the perfect description when you think about it.

Hiding out in a backyard shed with his sister and pal Josh Small, Barry recorded Lost & Rootless with no time frame and no worries at all. The result is a tireless release that I have listened to over and over and found myself enjoying more so than the last listen.

One thing I adore about Barry is his storytelling abilities. In Lost & Rootless, Barry doesn’t hold back with his tales that do not necessary have a theme to them but certainly reach back to other stores of past albums. There is no concept to be heard and to be honest, I think Barry and crew just recorded whatever was on their mind.

Starting the album off was “No News From North”. This was actually taken from Barry’s Laurel Street Demos, but re-recorded just as he has done with other selections. I loved the rendition of this song from its original. It sounded so much more homely and emotional.

“Poppa’s Porch” had me thinking of Barry on his front porch with his wife and kids singing to them on a weekend morning. This song told a story about the neighborhood that surrounds said porch full of fisticuffs and shenanigans. This was overall such a friendly track to listen to. It was like Cheers, but different.

“All My Friends” painted such a beautiful picture of who Barry surrounds himself with. This was a very old-timey sounding story about people who took to the streets for entertainment and communication.

I can honestly say I know exactly what “Breathe Slow Let ‘Em Pass” was all about. My rebel youth recalled those days when the law passed me by and I turned into stone until they were far away only to release a tightly held in breath. This track was amazing based on the idea of it.

The cover of “Clay Pigeons” by the late and great Blaze Foley was just amazing to listen to. Having just learned about the Austin musician myself, I can understand why Barry chose to record his own version of the song.

The somber story told in “Solid Gone” reflected hard times with family and finances and the outlawed methods to make things manageable resulting in further calamity. I can not say I have heard a song quite like this before and found myself captivated throughout it. This is one track I think everyone needs to check out on this album.

“Lela Days” was clearly written for Barry’s daughter. I have the feeling she loves it when he sings this song to her. It is a fun folky jam with real life expectations hidden within.

I can not tell you the number of times that I thought to myself how much I enjoy Tim Barry’s music. This is coming from a aging punk rocker who has matured just a bit but still has a lot of growing up to do. It’s nice to see that I still get excited about things.

By now, it shouldn’t matter that Tim Barry once was in Avail. Even though his former punk act will always be one of my favorites, it is perfectly clear why Barry has moved on and started something he can call his own.

It’s no wonder he has no plans of ever getting Avail back together, his new direction just makes so much sense and does not seem to be going off track. He has been going strong for 10 years and I hope to hell he has no intention of slowing down.

Music, Music News, Punk, Rock, Soundtracks

Fat Wreck Announces NOFX Backstage Passport Soundtrack

10 November, 2014 Brian Mc Leave a comment

As many of you probably already know, NOFX’s Fat Mike has a mean punch and swift kick ready for anyone who happens to sneak up on him while he is rocking out on stage.

fat_mike_kick_face

Was it a dick move? Maybe, but you know what? He not only apologized to the kid on Twitter after the kid Tweeted him an apology, but even invited the kid to join him and the band backstage at the following show and allowed the kid to kick him back.

I really hope that makes a future Backstage Passport episode.

I also hope Ben Weasel can just drop it already. I do not even wish to get into that quarrel between those two former label mates. It is almost depressing to even think about. In fact, I am done even thinking about that bull mess…

Anyways, Fat Wreck Chords announced last week that there would be a soundtrack released for NOFX Backstage Passport.

Normally I would just skip over this idea as it sounds like a quick way to make a quick buck by the band, but this soundtrack is actually rare, unreleased, and remixed material from seasons 1 and 2 of the hilarious show.

Season 2 has not even been released yet if that tells you anything…

The soundtrack drops in a month and there will be a vinyl release that should be pressed and shipped out by January 13th, 2015.

Taken from the Fat Wreck press release since I am running out of crap to say:
In 2008, NOFX starred in the TV show Backstage Passport, a series that documented the insane hijinks of the band as they weaved an unsteady path through exotic locales where most sane bands fear to tread. Today, we’re pleased to announce that the official Backstage Passport Soundtrack is being released on December 9th (Vinyl in January 2015). Packed with 15 tracks from both seasons (That’s right! The second season is nearing completion as you read this.), the Backstage Passport Soundtrack is a one-stop shop for all the rare, remixed, and unreleased material that folks could only previously enjoy as snippets during the show. If you’re new to the game and haven’t seen Backstage Passport, do yourself a favor and grab a DVD copy. NOFX will be pulling their passports out once again for an extensive headlining tour of Australia.

Pre-orders for the Backstage Passport should be up soon. Head over to the Fat Wreck site for more info.

Track List (* Previously Unreleased / + Remixed)
1: Backstage Passport *
2: No Fun In Fundamentalism +
3: Insulted By Germans (Again) +
4: All My Friends In New York +
5: You Will Lose Faith +
6: Teenage Punching Bag
7: Leaving Jesusland (Live) *
8: The Greatest Country In the World *
9: Last Night Was Really Fun? +
10: We’re Bros *
11: Your Hubcaps Cost More Than My Car +
12: Fan Mail +
13: Arming the Proletariat With Potato Guns
14: I, Melvin
15: Punk Rock Passport *

Electronic, Experimental, Indie, Jam, Music, Music News, New Release, Pop, Pop Rock, Review, Soul

Album Review: Electric Six – Human Zoo

16 October, 2014 Brian Mc Leave a comment

I remember the very first time Electric Six (E6) hit my ears.

I was working at a Borders Books, Music & Cafe in some fancy Cleveland suburb one night just minding my own business. One of my co-workers was unpacking all of the promotional CDs for the listening booths and asked me to help him out.

Flashback Memory: As I am sure many of your remember, there was a time when CDs were the staple of the music industry and at Borders, we literally had to manually input CDs into the CD players that were locked below the CD shelves. This was done so all you consumers could come in and check out an album prior to its release. Duh.

Anyways, I remember seeing a copy of E6’s debut release Fire sitting out on the counter. For whatever reason, I picked up the CD to see what it was all about and soon flipped it over to see the track titles. I decided to sneak in a listen after I put the CD into the listening station. I have been a fan ever since. I just sat there on the floor of the music department loving every song on that title. Needless to say, I snagged that CD the day it officially released and have had it in rotation for years.

I can’t say every release since Fire had as huge of an impact on me, but I have always appreciated what Dick Valentine and crew have done for 10+ years now. Last years Mustang left a pretty good impression on me, but I just was not blown away completely.

The Detroit garage/rock/funk/disco/jam/electronica/jack-of-all-trades genre-bending act just dropped an all new album titled Human Zoo. I am happy to say I mostly enjoyed the living hell out of it and I am pretty confident any E6 fan out there will too.

“Karate Lips” opened with an enthusiastic chant of “Electric Six” that quickly changed to “karate lips”. The song, clearly about some tough-ass women, was heavy on the funk with an electric indie rock style that closely resembled stuff you might hear from the The Faint.

“It’s Horseshit!” was almost too much for my brain to compute yet I loved it. It was like listening to a late 80s boy band infused with Daft Punk. Definitely a track that people can get weird to. The music and just overall feel of this song really resembled that vibe I first felt on Fire.

Valentine swooned beyond senselessly in “Alone With Your Body”. I listened to this track a couple of times over because I liked it so much. This was like the working man’s love jam. Valentine sang as a simple man with plenty of Detroit soul backing him up. I adored the back up singing as well as candid lyrics like “I’ll be there in a jiffy with a stiffy”.

“Satanic Wheels” grew on me after listening to it a couple of times. I loved the synth throughout. I felt like I was listening to typical E6 but with keyboard playing taking queues from 80s arena rock bands. It was psychedelic yet indie if that makes sense. I guess what I am trying to say is that this song ruled and was one of my favorites on the album.

“Gun Rights” was bizarre and unexpected. I thought I was listening to Ween mashed with Mike Patton. “Don’t take away my rights, my gun rights” repeated over and over with a fun Mexican folk melody. The quick spoken-word of Valentine in the middle just kept things even more interesting.

“I Need A Restaurant” just did not do it for me. The song seemed to just downgrade from all the craziness I previously was engulfed in. Sadly, I skipped this track halfway into and barely made it through “Worst Movie Ever”.

“I’m the Devil” sounded more like something Tenacious D would have done one of their albums. It was not terrible by any means but seemed more of a skit than a song. I almost wish Dave Grohl would have jumped in on this track dressed as the devil. I did like the Young Guns-like guitar playing style. The best part of this track was at the very end when apparently Jesus Christ had a speaking roll. Who knew he was such a burnout?

“The Afterlife” ended with a synth-pop tune that thankfully did not let the album end on a bad note for this listener. I wish it were a little more sped up but for what it is worth, it was not a terrible listen by any means.

Human Zoo overall was a blast. E6 continues to entertain but I will admit the latter portion of the album kind of fell short. Regardless, most of the release got me all sorts of excited just like their debut did over 10 years ago. This band in my opinion still entertains on a higher level.