Hot Snakes Jericho Sirens Listening to this album makes me sad. Let me explain. John Reis’ career is not one that’s always appreciated. I would know, because I’ve come to it late in the game, and it’s one I’m still trying to absorb and get comfortable with. The name Drive Like Jehu gets dropped a lot in musical circles, but honestly, I don’t see what the big deal is. I’ll blame it on the fact that I’m a philistine and...
A deeper look at the grooves pressed into Arthur Buck’s self-titled debut album. Full honesty and disclosure: I’ve been a really big fan of R.E.M. for a really long time and approached Arthur Buck’s self-titled debut album with no small amount of trepidation. I didn’t want to risk sullying my memory of Peter Buck – but it turns out I needn’t have worried. In fact, by crossing Buck’s instantly recognizable guitar tone (which, let’s be honest, helped inspire almost an...
A deeper look at the grooves pressed into the “Just Business” LP by Bass Drum of Death. Even upon one’s first play through Bass Drum of Death’s fourth album, listeners will quickly be able to note that its title is a complete fucking misnomer. Nothing about this album is “Just Business”; it’s impossible to not take this music personally because it is that good and does mark a spectacular potential turning point for the band. Simply put, “Just Business” rocks...
A deeper look at the grooves pressed into the Goodbye Sunshine Hello Nighttime LP by Family Of The Year. It’s funny how, as similar to one another as every Family Of The Year has been to date, Goodbye Sunshine Hello Nighttime feels like a significant departure and/or move forward for the band. That Goodbye Sunshine Hello Nighttime is the group’s first album for Reprise after enjoying a celebrated 2LP+1EP stretch at Nettwerk is irrelevant – Family Of The Year has...
A deeper look at the grooves pressed into the Deadpool 2 score picture-disc album by Tyler Bates. Before even considering the music pressed into the twelve-inch score released in support of Deadpool 2, one has to respect the flamboyant nature of this album. First, in a time period marked by the decline of interest in soundtrack and score album releases (due in no small part to the fact that the cherry picking nature of soundtracks mirrors the common operating procedure...
Oh Sees ORC (Castle Face) Show me someone who doesn’t appreciate Thee Oh Sees and I’ll show you a damned fool. Same with all the other name incarnations of the band: The Oh Sees, Oh Sees, and OCS. It’s almost like band head honcho John Dwyer doesn’t want his steps to be traced back. Or maybe he’s divvying up the band’s output under slightly different namesakes so that listeners can distinguish them. OCS definitely was a different approach to the...
A deeper look at the grooves pressed into the The Old New Me / Times Like This 2LP reissue by Slim Dunlap. Of course, after the collapse, crash and burn of The Replacements in 1991, it was almost instantly hoped that somebody in the band would begin producing more music but nobody looked at Slim Dunlap to be the first one out of the gate. Dunlap was, after all, the replacement guitarist in The Replacements – that was the joke...
M.F. DOOM Mm..Food (Vinyl Me Please edition) You have to respect DOOM, OK? You just have to. I only needed a few listens of his latest album Born Like This to realize the man was doing something different. Something interesting. Something worthwhile. Working my way through his catalog, I spent my sweet time with Mm..Food and I can honestly say it was time well spent. After having properly digested the album, you’ve got to give it to the man for...
A deeper look at the grooves pressed into The Flaming Lips’ Greatest Hits Volume 1 LP. As a general rule, I must confess that Best-Of compilations seldom thrill me. While the odd set does prove to be the rule’s exception (like Nirvana’s black album, the set that Morphine released several years ago, ChangesoneBowie, Hot Rocks and All For Nothing/Nothing For All turned out to all be great sets) and which does present the band in question at its best, most...
The funny thing about punk and hardcore bands has always seemed to be that, no matter how caustic they may have sounded when listeners first began paying attention, the desire to get louder/harder/more aggressive as soon as MORE people begin listening to them is nearly immediate. A perfect example of this tradition can be found in the recorded output of Vancouver’s rising stars NEEDS; upon first appearing with their self-titled album in 2015, the band shattered expectations by delivering a...