punk

Post-it Notes (Jeff Rosenstock, POST- review)

Posted on by Tim Kuefler

Making music isn’t something for everyone, but everyone needs music in their life. When economic anxiety has become the new buzz term to describe the state of western nations, then I think it only makes sense for an artist to come on the scene and shake things up.

 

Jeff Rosenstock – POST-

released March 23, 2018
********* 9/10

Jeff Rosenstock is an American musician and songwriter hailing from Long Island, New York. He’s been involved in a ska band (The Arrogant Sons of Bitches), an indie rock group (Kudrow), and a musical collective (Bomb the Music Industry!). It was only six years ago that Bomb the Music Industry! split up and Rosenstock had to decide what to do with himself. After a bit of deliberation he launched his solo career in 2012.

In those six years he has released three studio albums, We Cool?, Worry, and POST-. POST- was released digitally on January 1, 2018 to the surprise of so many people. It has since been issued through Polyvinyl and to generally favourable reviews – Most of the songs were created shortly after the 2016 presidential election and reflect Rosenstock’s disenfranchisement with national pride, non-confidence in people, and disbelief in himself.

it’s equal places angry and fun, something we could all do with in 2018. While that sounds incredibly daunting–and like a really tiring listen–the album’s most impressive trait is that it makes all that vital work feel joyous and communal

USA tells a story about the never-ending civil war of America, having never ended but instead become even more charged over time. It’s a strong opener and features lines like “we’re tired and bored” and “et tu USA” which smartly sounds like F U USA. Then we have Yr Throat and Powerlessness, which have a subtle taste of hope about bridging communication, but ultimately raise doubt whether America is worth the trouble.

Continuing this trend are All This Useless Energy and Beating My Head Against A Wall. Both tracks are strong indicators of what happens in the face of futile odds. Most surprising to me though is Let Them Win. A song about the importance of working together to combat evil behaviour and focus on we instead of you and I.

TV Stars reminds you of a Billy Joel song, and even has a reference to piano-playing, but most importantly there is a theme about loneliness and the fear of it, throughout the track. This also shows up on the next song, Melba, which it is probably the most happy song of the lot, and hilarious if you pay attention to the lyrics. Oddly enough it also reminds me of another song – I’ll have to get back to you on what that is exactly.

Pros: The energy of each song is amazing, and how Rosenstock manages to inject fun into such sweeping epics of ideas is something I haven’t seen in a while. Tackling difficult topics comes naturally to him.

Cons: Rosenstock is a victim of his own success. It mimics Me Too! but unfortunately isn’t quite as interesting as that initial outing.

Runtime: 40 minutes

Points of Interest: It was written and recorded mere weeks before it’s January 1 release date. Most of it  was recorded live onto tape, giving it a very lo-fi and earnest sound.

Now all that shared, POST- might not be Jeff Rosenstock’s best work to date, but it is far and above more entertaining/meaningful then so much other music that’s been released this year. This is a spiritual successor to other punk concept albums like American Idiot and The Monitor. It’s heartfelt, DIY, modern punk music, and I think it’s pretty damn accessible too.

theories Summarized

It’s cathartic and painful, bright and worrisome –  an anthem of economic anxiety as it were. POST- was given away for free on New Years Day, but I’d happily pay for it a second time if I were given the choice. It’s that good.

And speaking of albums I would happily buy a second time if it ever came up, Brendon and I have a great video review on the 2005 debut album Silent Alarm. This is essential Bloc Party listening and it features so many danceable tracks on it. Definitely worth a sit down. Or twenty.

I can’t believe that album is over a decade old already, but it was easily in my top five records for that year, and has been on heavy rotation ever since!

And remember, if you liked what you saw, and/or enjoyed what you read, please click on the like button, and even better, subscribe to the channel and my mailing list! I’ll be back tomorrow with a film review on The Shape of Water. A divisive film, yes, but I have an interesting theory on why it actually deserved to win so many Academy Awards.

Tim!

Popular Science (MGMT, Little Dark Age review)

Posted on by Tim Kuefler

We all have a little darkness inside of us, some of us embrace it, some of us run from it, and other find a way to little it simmer just under the surface. Adding some texture to life.

 

MGMT – Little Dark Age

released February 9, 2018
********* 9/10

MGMT is an American rock duo comprised of Andrew VanWyngarden and Ben Goldwasser. They’ve been playing together since 2002, well before you would’ve expected from a band that hit the big time back in 2007, I remember because it was at the apex of indie electronic music. The singles Kids, Electric Feel, and Time to Pretend were everywhere that year, in movies, on the radio, and at most of the clubs I attended.

Yeah, this was back when I went to clubs, looking for loves.

And TBH, that music perfectly fit with the beautiful nihilism of the day, but I didn’t want to be part of it, so I ignored them, even though Ornacular Spectacular was clearly an amazing album. Then they followed it up with Congratulations in 2010, and it was even more experimental, but I had moved on and wasn’t really into that kind of music anymore. Around the time that the self-titled MGMT landed, the duo weren’t even on my radar, as in, I just discovered that Little Dark Age is their fourth studio album, and not their third one.

And thus, the history lesson concludes, because the boys appear to have some full circle. Older and wiser, fortunately for us, because Little Dark Age is their best album to-date and the sythn-pop was always their strong suit anyway, that and a subtle darkness, which is not unappreciated in the album title.

She Works Out Too Much is a perfect opener, capturing the challenges of dating in a smartphone app era, and later accented by TSLAMP. Then comes the big kahuna, the title track (Little Dark Age) which has been on everyone’s mind since it dropped as a single back in October of 2017. If you listen hard enough, you’ll hear Gary Numan, The Cure, Depeche Mode, The Smiths, and a host of other emo progenitors. Geez, now that I think of it, I can even hear the Police in there – and that’s an incredible thing.

Me and Michael is perfect in it’s subject, a quant song about friendship. That pairs well with Days That Got Away and When You’re Small.

It’s the kind of album that I know will get better with repeated listens, and I can almost guarantee will find a place on my shelf in years to come. Dare I say it, this album might even have me aching for possession of their back catalogue.

And if you’re worried that the album slows down too much as you sink into it, One Thing Left to Try is just as upbeat as the opening songs.

I’m glad that we were able to get back on track with MGMT, and even though their third album should have been the point where they came back stronger and wiser, not every flower blooms at the same time, and we can’t fault a band which debuted on a high note, without understanding the intricacies of their relationship with music and popular culture.

Pros: Obviously the return to pop music is a welcome change. And inserting notes of psychedelic rock into the mix has proven to be a recipe for success.

Cons: I know that Ariel Pink had a hand in When You Die, but I find it difficult to separate his production from MGMT’s natural sound, and all it does is make me want to listen to his music instead.

Runtime: 44 minutes

Points of Interest: The record was conceived partly out of the election of Donald Trump as president of the US, and partly because of a desire to return back to their roots.

I guess all it took was some time for these two college friends to embrace their identity and make music which suits them. I’m personally thankful for the opportunity to revisit their music, and I truly do believe that they’ve matured into their sound finally.

theories Summarized

Do I think that you should give this album a listen? Absolutely. I didn’t really expect to like this record, as I had avoided MGMT for years, but as I sit in my office on a warm March evening, I can see fairly easily how this will become one of my favourite albums this year. Yes, I’m calling it a quarter of the way through.

And speaking of bands that got better with age. Brendon and I wanted to remind you of one of the greatest punk rock albums of the 1990s, The Offsprings SMASH. This is seriously one of my favourite albums ever, and if you’ve never heard it before, you are in for a treat. But if you have listened to it before, and you needed a reminder, give it solid listen, and appreciate their skillful guitar playing, choice lyrics, and exciting melodies.

Thanks for taking the time to read the review, watch the video review and hopefully you’ve left a comment or two. If you liked what you saw, click on the like button, and even better, subscribe to the channel! Come back tomorrow for a film review about Darkest Hour. There’ll be more theories!

Tim!

For The Lolz (Paramore, After Laughter review)

Posted on by Tim Kuefler

A friend of mine once told me that the kinds of music you prefer to listen to can tell you a lot about your personality, maturity and proclivities.

Not to mention all of the hundreds of articles and quizzes out there which claim to predict your personality based on how you answer certain questions. For instance, someone who listens to classical music would be typified as smart, hip hop fans are extroverts, and punk rockers are intense, energetic, and low on empathy.

Here’s an example, for the lolz.

 

Paramore – After Laughter

released May 12, 2017
******** 8/10

Paramore are an American rock band. Led by vocalist Hayley Williams, guitarist Taylor York, and drummer Zac Farro, they have seen more than their fair share of lineup changes over a thirteen year career. Have released five studio albums to-date, After Laughter is their most 80’s influenced and pop rock styled recording. Consider their greatest single Ain’t It Fun – which was released with the fourth album, 2013’s Paramore.

That track was the single greatest predecessor for all of the fun Paramore are having on this latest album.

So what does it sound like you ask? Well, it’s a combination of pop, emo pop, pop rock, alternative rock, and indie rock. So according to that personality test, it means that Paramore are outgoing and nervous, creative and curious, but have low self-esteem.

Apparently this test is working out for me because I would have to agree with all of that. This is a very upbeat and creative album, exploring a ton of different topics includes the oft ignored arenas of mental health and suicide. It’s a more mature vibe and different then what we’ve seen from Paramore on previous outtings, with Hard Times exemplifying the high energy and shift into synth and the odd. Further demonstrated by Rose-Coloured Boy, the track has a pop music tonality, with Williams showcasing her chops to keep the tempo up, but if you listen to the lyrics she is coming from a place of depression and anxiety. It’s chilling really.

Told You So continues in the same fashion, with a sobering outlook on the future and no expectations for more from life. It’s almost as if the bard are using pop music as a vehicle to showcase the challenges in pretending to be happy all the time, when the internal battle is far more difficult and filled with disparaging thoughts.

Forgiveness, Fake Happy, and 26 all channel 1980s movie soundtracks like something that Blondie would have featured in or better yet, Madonna. Before she really went grunge in the 1990s. Forgiveness in particular is quite powerful as a ballad, and easily one of the albums best, especially when paired with Pool, which I think sandwiches that section of the record quite well.

This album really does mark a shift for the band and while the ska and reggae towards the end of the record seemingly come from no where in Caught In The Middle, it’s fucking brilliant. Reminding me of early No Doubt and The Mighty Mighty Bosstones.

 

Pros: Moving away from their grunge-rock ways was a ballsy move from Paramore, but if anybody has the vocal range to play in the 1980s, its Hayley Williams. And while Idle Worship tells us they might not like themselves anymore, I still think they’re pretty damn cool. *Hugs*

Cons: I don’t really know where No Friend fits in this album, it’s kind of an odd duck, black sheep and red mark on an otherwise perfectly tuned effort. Also kind of slow? And ominous?

Runtime: 43 minutes

Points of Interest: After Laughter marks the return of former drummer Zac Farro to the band, as he recorded drums for the album and officially returned in February 2017 as a full member. Hard Times is the first single and Told You So is the second single.

I’ll admit I didn’t really pay attention to Paramore much when I was younger, which is odd given that they cite certain bands which I personally like as influences – Fall Out Boy, Blink-182, Death Cab for Cutie, Jimmy Eat World, Thrice and New Found Glory. Plus Hayley Williams takes personal inspiration from the  likes of the Ramones, Blondie and The Cure. For realz. I think John from ARTV said it best by declaring this an album that doesn’t sound like Paramore, but which is a good album nonetheless.

theories Summarized

Paramore are pop punk for the 21st century. They do all of the things that punk music are supposed to do, rhythm, high energy and tackling social issues, while having the fun, heart, and catchiness of pop music. That they’ve been able to transition into other areas of pop music while keeping the messages alive demonstrate their character and willingness to make meaningful music. The kind that makes you laugh heartily.

Tim!

They’re Barking In The Wrong Key (AFI, AFI (The Blood Album) review)

Posted on by Tim Kuefler

When a band has been around for over 25 years, you probably should stand up when they enter the room and definitely stop talking out of respect when they say something, unless you’re a dick. If you’re a dick, you can just close your ears and pretend it never happened. Probably to your detriment.

This week we explore an album which I personally think deserves your attention. An early entry that might make my top 10 for 2017, but we’ll just have to dig in for now.

 

 

 

AFI – Self-titled (The Blood Album)
released January 20, 2017
********** 10/10

afi-the-blood-album

A Fire Inside, better known as AFI, are an American rock group that focuses on punk, alternative and emo music. The lineup hasn’t changed in almost twenty years, but only features two of the original four members – Davey Havok on vocals and drummer Adam Carson. Hunter Burgan provides bass support and Jade Puget is the guitarist, but all three instrumentalists share backup vocals. Having released tend studio-length albums now, AFI is the first self-titled album that AFI has completed.

Affectionately called “the blood album,” this record has been released on vinyl in four limited edition color variants matching the four blood types (A | O | B | AB). But is it any good, you ask?

Well, yeah.

I’ve been a fan of AFI since Sing The Sorrow hit the ground running, earning the band mainstream attention and Billboard attention for almost a year, just shy of a week. Then Decemberunderground came out and I was hooked, I picked up their back catalogue and haven’t looked back since. Granted, I don’t think Crash Love or Burials had quite the same visceral impact as AFI’s sixth and seventh efforts, but dammit if this self-titled album doesn’t remind me of Sing The Sorrow. And well, everything else they’ve ever done.

You see dear readers, at this point in their career AFI don’t have to take any real risks, but they are more than capable of revisiting genres they’ve already explored and giving a tempered reflection of what preceded, this even application of sonics is what reminds me of Sing The Sorrow – it’s intentional subdued but infinitely more thoughtful and considered.

Some of my favourite tracks include Aurelia, Hidden Knives, So Beneath You, Dumb Kids, Pink Eyes, and The Wind That Carries Me Away. None of these tracks are much like the other one, but each are familiar because AFI has been down these roads before.

Now before you accuse me of accepting this as a middle-of-the-road AFI and not A Fire Inside, you should know that Havok and Puget wrote over 60 songs before they got to this 14 track offering. And you need to listen to the whole album more than once, it gets better on subsequent viewings, like any good piece of art.

This is AFI committed to their art, and it’s a beautiful thing to witness.

 

 

 

 

As I sit with the realization that one of the last mega-stores of music and film is dying off and that I’ll have to change my own tactics going forward (read: goodbye HMV), it’s satisfying to know that music will still find a way. AFI are still relevant and that means more to me than cheap prices and the convenience of online shopping. But maybe I’ll learn to embrace that too. No harm in checking out a new theory.

Tim!

You Want It Darker (Sum 41, 13 Voices review)

Posted on by Tim Kuefler

Leonard Cohen left this world in both a dramatic and cheeky fashion with his final offering. He realized long ago that true music fans almost always want more from you, more emotion, more physicality, more spirituality, more presence, the list goes on. With his final album, You Want It Darker, Cohen gave us something quite visceral, but poked fun at our expectations.

This weeks album review is more of the same.

Sum 41 – 13 Voices
released October 7, 2016
******** 8/10

sum41_2

 

Sum 41 Is a Canadian band that makes punk, rock, and metal music, mostly of the alternative variety. What this means is that they are influenced by a number of musical genres and what that sounds like exactly has been heavily disputed by even their most committed fans.

What started as a predominantly pop and skate punk sound with their first effort slowly evolved to feature melodic hardcore on the second album and eventually stronger rock and metal treads with Chuck. After exploring those heavier themes, the group went back towards their pop punk roots for the fourth album Underclass Hero, and then dark again with Screaming Bloody Murder.

13 Voices is something altogether different. And I like it.

This is an album of recovery and reflection for lead vocalist and songwriter Deryck Whibley. After having had a brush with death from a battle with alcoholism, this is Whibley pushing back against the darkness. After all, the very first three tracks, A Murder of Crows, Goddman I’m Dead Again, and Fake My Own Death are all dialed right into that feeling of anger against himself and the drug that almost finished off the job.

This is a darker album, and while it does kind of feature a new direction, as already mentioned, Sum 41 DID try to do this back in 2011 with Screaming Bloody Mirror, though not very successfully. The reason why this is new is because it’s a return to form with the reintroduction to Dave “Brownsound” Bakash to the group, the metal backbone of Sum 41. He left after Chuck, and I don’t think the band has been nearly as good since that time. Some of my personal favourite tracks are 13 Voices, War, and The Fall and the Rise, but I think both older fans of the first three albums and current ones will be able to get behind this new Sum 41 machine.

This is a technically well made album, and while there might be some haters out there harping on Whibley for writing the songs with keyboards whilst listening to movies with the sound muted, these guys are not your typical punk group, nor your typical metal group, they managed to transcend that pop and skate punk sound. Don’t believe me? Give Breaking The Chain a listen or two and you’ll be on the Pain for Pleasure train once again (almost forgot about that alt-persona didn’t you?).

People, Sum 41 have introduced violins into their sound FINALLY after so many years, odd given that the punk group I associate with violins, Yellowcard, signed off this same year.

This album is a timeline of the redemption of Deryck Whibley after almost completely falling apart in the aftermath of the Steve Jocz quitting the band and the gruel of their last tour.

Is this album perfect? No, it isn’t. But it’s pretty goddamn good, and thankfully I’m not dead again.

 

 

 

This band finally did what they’ve been claiming they would do for years… ditch the pop from their sound and fully embrace the punk. Hell ,they might even be leaning more into metal for the first time since, well, ever. As someone who grow up with these guys, albeit a few years behind, this record demonstrates what was always behind the pop punk sounds and silly nicknames, a real message about dissatisfaction with society and being discounted before given a chance to do something. Empowering ourselves never felt more important than it does with 13 Voices. We may not have realized we wanted a darker Deryck Whibley, but I’m sure glad he gave it to us.

Tim!