Joe Strummer 002 The Mescaleros Years 7LP Box Set It’s strange to think how Joe Strummer’s music is essential, considering his output isn’t exactly large. Or maybe it’s just right and easy to grasp, which is what makes it easier to reckon with. As far as the Clash is concerned, that music is just required listening and everyone should be familiar with it. Yes, all of it, including Cut the Crap. The Clash’s music has withstood the test of time...
A deeper look at the grooves pressed into both the Black Skies EP and the Waiting EP by Bishop’s Green. Bishop’s Green Black Skies EP (Pirates Press Records) As cool as some album covers are (and the cover of the Black Skies EP is definitely very cool), the peril is often that the image on the cover of a record just doesn’t match the music. It could easily be argued that Black Skies falls hard into that trap; with crows...
A deeper look at the grooves pressed into the Growin’ Up LP by Luke Combs. I confess that it took a few days of listening to Luke Combs’ third album, Growin’ Up, constantly in hopes of finding a lede into the music before I finally found one which explained why I liked it as much as I do. I mean, the lyrics about hometown kicks aren’t terribly new or unique, and the performances are about as orthodox as it’s possible...
A deeper look at the grooves pressed into NastyFacts’ Limited Edition “Drive My Car” 12” single. As every punk knows, it’s not terribly uncommon for many bands of a certain vintage to have a pretty abbreviated catalogue of releases. The idea of “one and done” isn’t uncommon at all, really – but it’s still saying something when a band’s total output was limited to ONE SINGLE before they closed up shop. That’s not small, that’s infinitesimal – so of course...
A deeper look at the grooves pressed into the Otherness LP by Alexisonfire. The cool thing that Alexisonfire has always done (and this is not a claim that many bands can make) is that they have always challenged their audience without making it look intentional. When the band’s first album appeared in 2002, for example, the idea that three bands (Condemning Salem, Helicon Blue and Plan 9) could converge and intermingle punk, metal and emo DNA into one unit and...
A deeper look at the grooves pressed into the Second Nature LP by Lucius. Not so long ago, an article was published outlining the concept and idea of “post-genre” pop, and the very idea made this critic scoff. “Attention spans have grown shorter,” I thought. “The way that many young people define themselves, the things they like and the things they don’t like have seemed to become even more codified.” It took a couple of minutes, but I finally figured...
A deeper look at the grooves pressed into The Flatliners’ New Ruin LP. In the twenty-year duration of The Flatliners’ career to date, it’s actually pretty remarkable to observe the turns that the band’s music has taken. After beginning with some respectable (if not terribly memorable) ska-core in 2005 and then taking a couple of years to develop (see how it works with 2007’s The Great Awake), The Flatliners really hit the big time hard with 2010’s classic Cavalcade and...
A deeper look at the grooves pressed into the Stranger Things 4 – Soundtrack From The Netflix Series 2LP compilation. I usually steer clear of soundtracks because I’m not the greatest fan of compilations in general; when I throw on a record, I usually want to hear an artist’s idea seen through from start to finish as well as all of the developments included along the way. I want to seen an album grow and develop and see the things...
A deeper look at the grooves pressed into The Raw and Primitive Sound of The Christian Family LP by The Christian Family. With the success of bands like The White Stripes, The Black Keys, Death From Above and Japandroids in hand, making a guess about the probable sound of The Christian Family – another two-piece American band – seems like it should be simple: they’re going make liberal use of drums and guitar, factor the use of volume to create...
POST-GENRE MUSIC My favorite album of the past year or so is Emily Wells’ Regards to the End. It is beautiful, emotionally powerful and transcendent, even; and it is unclassifiable. It is not really rock, or pop, or electronica, or hip-hop, although it contains elements of all. It’s not classical, or jazz, or soul. The best qualifier is simply to call this album Music, with a capital M. Pure music. Then take Nels Cline, one of the most innovative guitarists...