Those three words are what keep reoccurring in my mind as I listen to The Astral We by Cleveland’s Harvey Pekar.
The lyrical content in this album is beyond deep. It makes you think and react based on how you interpret it. There is no tongue in cheek rhyming, stolen ideals, or laziness in these songs.
With that said, it’s nice to hear Harvey Pekar once again. Spite a lineup change since the last album, OG members Elliot Frank (guitar), Nick Krastas (vocals), and Nick Schmitt (bass) joined forces with Nate Kelly (drums) and Tyler Sickels (guitar) to create a more solid band than ever. Without worrying about reinventing their sound, Harvey Pekar continued full force where they left off on their debut release back in 2013.
“Huff Joules” started off the album strong with the band as a whole not holding back at all. “The Heritable Self” was a true hardcore romper with plenty of group singalong opportunities as Krastas screamed his thoughts out. Loved this track.
“Ferrous Kin” was one of the songs where I just felt like Krastas was delivering a spoken-word of sorts backed by heavy riffs and fast-paced drumming. The lyrics, “frail is the life trivialized by that of artifacts” really stuck to me for some reason.
“Truisms of Infinite Regress” caught my attention in more ways than one. The track, which seeming talked about conformity and a sense of false logic, sped up midway making for quite a powerful statement and throw down. This track begged to be heard over and over by this listener.
I should also mention how much I found myself enjoying “Crystal Starlings”. The breakdown about half way though and change up kept the track interesting, the group vocals towards the end make the song enjoyable.
Everyone has their own definition of hardcore music. Harvey Pekar’s is more aligned with the genre I recall from the 90s and early 2000s, at least the hardcore I enjoyed the most mixed with a punk feel and beyond intelligent lyrics. Perhaps a little more melodic than some might like, The Astral We impressed the hell out of me and has been fueling my ears daily since it’s release a few weeks back.
Looking past the band’s sound, Harvey Pekar consists of some of the most down-to-earth guys I have had the pleasure of knowing over the years. I’ve seen them play in bars, inside a warehouse, and even on a church stage on a Sunday morning over the years and they always put on the best show and always are down for a hang afterwards.
Here I am sounding biased now. I am just calling it as I hear it. Listen for yourself and make your own determination.
Akron, OH’s prom kings Worship This! stopped out at Bad Racket earlier this summer and played one of my favorite OG songs, “Best Parts”.
Check it out:
Bad Racket is one of the coolest recording studios in Cleveland and have been doing their thing since 2009. They specialize in welcoming bands into their studio to play a song and be filmed while doing so. If you want to see more amazing acts do their things, click the below link:
It’s pretty crazy to me that Blink 182 still exists. Don’t get me wrong, I have been a fan since the 90s when they were just some unknown pop-punkers. After all they have been through, all of the fame, all of the drama, and most of all the departure of one Tom DeLonge, wouldn’t you think the band would just call it quits for good already?
Perhaps in a fit of spite, Mark Hoppus and Travis Barker continued on and invited Alkaline Trio‘s Matt Skiba to take on vocal/guitar duties for a reunion show of sorts. I remember thinking “how bad ass would that be if Skiba just joined them and they put out a new album?” I know I was not the only one who thought that either.
Shortly after, it was confirmed Skiba had joined Blink and they were recording a new album. Now here I am about to throw some words and whatnot into a review for it. Perhaps a little delayed, but here it is.
Time for a story about me. Feel free to skip over…
The lyrics “nobody likes you when you’re 23” will always have special meaning in my mind for the rest of my life. Any Blink fan knows what song those lyrics come from. The year that song came out, an immature me swore the song was about my own experiences in a sense as I worked hard to get through a tough year thanks to an ex-psycho girlfriend and my own bad decision-making.
What I am trying to get at is simple, I was a Blink fan back then. “Dammit” was one of my go to songs, I loved Dude Ranch and Cheshire Cat. I remember even seeing Blink live at Blossom with Bad Religion opening for the Enema of the State tour. That was the show Barker missed as he broke his hand punching some a-hole at the Taco Bell my cousin was working at in Akron. Good times.
A few years later thanks to an old friend, I scored a front row ticket to see them again at Blossom with No Doubt. Both shows were amazing.
As the years passed, more Blink albums came out, Angels & Airwaves, Boxcar Racer, Transplants, and other side projects emerged, and Blink slowly moved out of my continual rotation of daily tunes. It happens folks, you know exactly what I am talking about. I got bored with them.
A certain Blink flame was re-ignited inside of me the day I heard Skiba was going to be on their new album. I remember hearing the first single off the new album, I was stoked. I still am stoked. So pardon my fandom and honestly on this post, these are my favorite reviews to do, the ones that I am legit excited to write on.
California is Blink 182’s seventh full-length release. Currently consisting of Hoppus, Barker, and the recent addition of Skiba (Alkaline Trio), who replaced Tom DeLonge. Blink 182 has been around since the early 90s and moved from a silly pop-punk band on underground labels, to a heavy-hitting act selling out stages all over the world.
When I listened to California the first time, my initial thought was that there was a lot of filler songs on the album. Long gone are the days of bands putting out albums with 16 tracks. After listening to the album over and over, that thought went away.
Opening track “Cynical” reminded me of past Blink material, at least the start did. Barker’s over the top drumming helped speed up the song and Skiba’s introductory backup singing proved this was not going to be the same Blink at all and not in a bad way.
“Bored To Death” has already taken over the radio stations. The beginning had an “Adam’s Song” similarity to it, but not enough to discourage. When the band jumps in together at the chorus, it pretty much blew me away. I know in time I am going to get sick of this song in time as it will be played over and over, but until that happens, I am going to enjoy the hell out of it. The video for the song cracked me up too, but only because I have reached old man status and remember feeling invincible once.
“She’s Out of Her Mind” will probably take responsibility for the younger generation to have a sudden interest in Bauhaus. Aside from that, this catchy song really planted a positive reminder that you should be yourself and not care about what others think.
“Los Angeles” was more of a rock masterpiece than a pop-punk track. I would not be shocked if this track alone brings in new fans of all ages. Hoppus and Skiba trading vocals and howls throughout was just perfect.
A more realistic “Sober” sang a story about substance-abused-rough-times in relationships and carried a level of honesty throughout. It was easy to compare my own bad decisions from my past in this track and also recall the apologetic resolutions. This song grew on me the more and more I listened to it. I loved the lyric “I’m a dandelion, you’re a four-leafed clover.”
The quick “Built This Pool” was about as crass as the band got on this album. Seeing how raw they used to be, I am glad they have not completely thrown away their comical ideals. Personally speaking, I really was hoping for a lot more of their humor throughout.
Skiba just killed it on “No Future”. This track was the song that had me smiling ear to ear knowing that Skiba was the perfect fit for the redesigned Blink. Hoppus and Skiba compliment the hell out of one another on this track. This dreary track which seemingly sounded like a humble departure, was one of the more catchier ones on the entire album for me.
“Kings of the Weekend” was one of the tracks I felt was more of a filler track at first, but the more I listened to it, the more I enjoyed it. This is everything a Blink fan could want in a Blink song. Not to mention the different singing styles keep things interesting.
I feel like I can say there is a lot I can say about”San Diego” as it really reminded me of the good times, but I won’t. I will just say it has grown on me a lot and I know the younger generation is going to eat this song up.
“Brohemian Rhapsody” was lame until I saw this:
Then it was hilarious…
All in all, California is an exceptional release. I can admit that I have not been a fan of Blink’s last few releases, but this one hits all the high marks in my mind. Initially I told myself and others that I only liked about 70% of the album, but the more and more I listen to it, the more I am digging it.
Perhaps my liking of California is because Skiba is on board now and I’ve been a AK3 fan for as long as I can remember, but I wish nothing but the best for Blink 182 and love seeing them at the top of the music world again. I seriously hope they continue and can not wait to see what they come up with next.
I recall the very day when I was first introduced to Jonathan Richman.
Sometimes I wish I could say it was because I came across a Modern Lovers album at a young age, but the truth is, I learned of him in the mid-90s thanks to Repo Man on VHS. As many of you know, there was a Modern Lovers song on the soundtrack and I fell in love with it instantly.
That was a long time ago and I have never stopped being a fan. So I am sure you can imagine how stoked I am to have been given the opportunity to review Richman’s latest release titled Ishkode! Ishkode!.
I have to admit though, I have been sitting on this review for a few weeks now as I wanted to make sure I said the right words as this artist is so important to me.
So here I am pondering and making a big deal about an album by a guy who has inspired me to be myself. After listening to this album probably for the 100th time, I felt today was the day to share.
Ishkode! Ishkode! dropped last month on Cleveland’s very own Blue Arrow Records. This is Richman’s first release in over six years and was well worth the wait. Assisting Richman on this release was Tommy Larkins, Lisa Marie, Kelly Brown, and a handful of other friends.
Starting off the album was “Woah! How Different We All Are!”, a more underground, beatnik sounding track that had Richman and crew taking a darker approach. Not goofy by any means but certainly something Warhol would have been a fan of.
“Ishkode! Ishkode!” carried the style Richman has presented over and over I have grown to appreciate. I loved when Richman, once warmed up, just went on a mini tangent with some amped up guitar playing.
I heard “Wait! Wait!” last year when Richman dropped a pair of 45s via Blue Arrow Records. This track is so fun it is ridiculous. I hate to repeat myself, so go check out what I said about it previously. I also talk about “O’Sun!” too.
“‘a Nnammurata Mia” which translates to My Beloved, was easily my favorite track off the entire album. I felt like I was on vacation listening to it as Richman swooned me away in Italian and English. Seriously though, Richman displayed himself to me in a new level on this song while blending the two languages so perfectly. It was beautiful.
The love fueled “Let Me Do This Right!” should be the soundtrack for all mantra. Even though it was the quickest song on the album, it was gentle, repetitious, and honest.
“Outside Oduffy’s” just had me smirking the entire time the song played. This was a comical track that just had me visualizing Richman talking to a girl outside of a pub, falling head over heels in 10 minutes. This was Richman storytelling at it’s finest. Having the ladies sing along made it that much better.
“Longtemps” returned back to that vacation feeling I had earlier with the versatile Richman showing his true talent in a different tongue – French to be exact. Originally written by Charles Trenet in 1955, Richman covered it quite well.
Closing the album was “Mother I Give You My Soul Call”, a chant written by Paramahansa Yogananda. It is beyond why Richman chose this song to cover, but it was absolutely captivating to listen to. The sitar playing over the low toned instrument that escapes me at this time (please feel free to help me out here) was calm and relaxing to listen to while Richman recited the chant. This was an incredibly unique listen.
For anyone who is a fan of Richman, listening to this album was an experience of its own. At first, I could not place my finger on some of the tracks and felt Richman was just doing something different because he can, but as I listened more and more, it made sense to me. This album was Richman continuing his legacy as a musician and merely enhanced his talents. It’s a fantastic release.
Head over to Blue Arrow Records to order a copy of Richman’s new album. If you are lucky enough to live in Cleveland, just take some time and visit their brick and mortar store. You will not be disappointed. I always enjoy my visits there and you can just pick up a copy of the LP yourself.
[Passing the mic/keyboard/whatever over to my pal Jason Utes who covered the recent Falcon show that filled up the Grog Shop on Wednesday night. Thanks Utes for the killer review! It appears that I missed one hell of a show]
“I wanna die and I don’t care who knows.”
If you’re reading this, you are probably already a fan of The Falcon. Otherwise, if I told you I was going to see a band with such lyrical presentation, you would imagine something far different from what I experienced Wednesday night.
Ostensibly, The Falcon is a band that exists primarily for the sake of the band members to get together and have fun playing music, free from the expectations of their higher-profile projects which include The Lawrence Arms, Alkaline Trio, The Loved Ones, and the Smoking Popes, to name just a few. Seriously, Neil could add probably a dozen more credits on his own, and this band is now one degree of separation from Blink-182 (more on that later).
So, if the band exists in the name of a good time, how is that going to translate to the stage when they are touring in support of the mostly bleak and harrowing (but excellent) Gather Up the Chaps?
Granted the album cover, which features a despondent leather daddy in the same vein as certain Minor Threat and Rancid album covers, achieves a humorous yet somber sexuality that Third Eye Blind only achieves on accident, this record is still a serious undertaking even with song titles such as “Hasselhoff Cheeseburger” and “You Dumb Dildos” boldly printed on the sleeve. (Enough about the album itself, you can check out the review of the album). Rest assured, the answer is that the show was a great time for band and crowd alike.
The Lippies, from Grand Rapids, kicked things off for me (Note: I did not make it in time for Blacklister to kick things off). The band took the stage led by Tonia Broucek who addressed the crowd with a politeness that bordered on timid that simply didn’t last. Once the band kicked into their brand of 1990’s Lookout Records reminiscent punk rock, she became an authoritative force that demanded (and received) control of the entire Grog Shop.
At one point, she entered the crowd to lay on the ground in a mock temper tantrum and her sheer aggression parted the crowd like riot police. Broucek easily had the most confident and effortless stage command of the entire night. The real pleasant surprise of the set came when the band receded for a haunting solo rendition of “It Boils” off of their eponymous full-length that left everyone rattled. Standout songs to check out: “302” and “It Boils” which you can find on their BandCamp page.
Next up were Worriers, touring in support of the incredible Imaginary Life. This band became one of the highlights of the night for me [as] every song sounded fundamentally different but clearly had the same fingerprints. For fans of thoughtful and melodic rock, hopefully they won’t mind that I mentally catalogued them in the company of The Weakerthans. This was definitely a more highbrow compliment to what the Falcon had in store next (again, hopefully taken as praise by both parties). Check out “Glutton for Distance” and “Plans” on their BandCamp page.
By the time the PA started blaring Bad Lip Reading’s “The Bushes of Love” (I’d be remiss if I didn’t mention that Lovegun played just before), The Falcon took the stage. From the opening riff of “The Angry Cry of the Angry Pie” the show was the usual onslaught of humor and spastic punk rock.
Having only two full length albums and an EP, all of their material was represented, but decidedly centered around songs from Gather Up the Chaps. “Skeleton Dance” prefaced by a sarcastic “this will be great, wait till you get a load of this” and “War of Colossus” being high points for me.
Between songs, the band took playful jabs at one another and Cleveland itself. There were at least three instances of pointing out that Cleveland is indefensible to a touring band’s gravity toward Cleveland Steamer jokes. They quipped that the crowd “Cleveland steamed the wrinkles out of [the song] ‘Sailor’s Grave’.”
Brendan Kelly reveled in pointing out how much Dave Hause hates ska and that he is now sentenced to playing the Falcon’s own ska anthem “The Unicorn Odyssey” on a nightly basis.
Dan Andriano stood helpless as Kelly mused on Dan’s Alkaline Trio bandmate Matt Skiba’s undead persona as well as a few taunts such as, “you BLINK and you’re out of a job!”
Dave Hause is a welcome addition and it’s great to see him playing punk rock again (The Loved Ones will soon be in the midst of a 10th anniversary tour for Keep Your Heart that I’m selfishly hoping will lead to the band being more active. I also don’t mean this to discount Dave Hause’s fantastic solo efforts)
The intended purpose of the Falcon is still front and center, a group of friends having a great time and not taking things too seriously. Still, the Falcon’s set still had its heartfelt moments. On the day of this show, Merle Haggard passed away and Kelly, who has a prominent “Mama Tried” tattoo, was audibly choked up when he memorialized his hero with a story of Merle and Johnny Cash’s first meeting.
Sadly, due to the nature of this being a “side project” for everyone involved, it may be a while until we hear from the Falcon again. This was their first proper tour since 2007. Still, as the show ended with the band leading a conga line around the Grog Shop to Paul Simon’s “You Can Call Me Al” (yes, really) everyone in the club could only hope that this would be the first annual Gathering of the Chaps in Cleveland.
Special thanks to Toby Jeg of Red Scare Industries for inviting us to cover the show, and thanks to Brian for letting me stink up the joint on his behalf.
Setlist:
The Angry Cry of the Angry Pie
Sergio’s Here
Blackout
War of Colossus
Hasselhoff Cheeseburger
Huffing the Proverbial Line Off the Proverbial Dong or The Blood and the Frog
Sailor’s Grave
You Dumb Dildos
The Skeleton Dance
Little Triggers
Dead Rose
Unicorn Odyssey
If Dave Did It
The Fighter, The Rube, The Asshole
Black Teeth
The La-Z Boy 500
[Man, Utes, this was a damn fine review. I think I just should give you my login info to the site and call it a life. Thanks for covering a solid evening of tunes! – Brian]