Category: Music Reviews

For the first time in five years, Less Than Jake is dropping a full-length album (THIS MONTH), and to say that there’s much anticipation as to what to kind of musical magic these guys have created wouldn’t even scratch the surface.  Less Than Jake has become a timeless staple in the punk/ska scene, with a fan base literally ranging for multiples of generations. The new album, titled See The Light, is without a doubt a back-to-the-basics project that worked in all the right ways. Vinyl Mag got a first listen to the album, and we decided to share our thoughts with you guys…

The 13-track album kicks off with “Good Enough”, a track deeply seeded in Less Than Jake’s ska roots, setting the tone for – presumably – a feel good album.

“The Loudest Songs” is the fourth track on the album and what I would consider the anthem of the album. “Do you really think summer can save us?  Do you think the loudest songs can be the cure?  I believe it’s possible that words and chords can make us strong and make you feel alive- the loudest songs.”

By the time “Bless The Cracks” comes on, the one thing that really comes to mind is that this album is shaping up to be a reflection – almost a tribute – of the past two decades of LTJ’s sound; not a whole lot of the “now,” but ample amounts of “then.” And we’re not complaining.

As I’m making my way through this album, another fact I’ve found noteworthy is the distinction between each of the songs. Each is either predominantly ska-based, punk-based, etc., and the fact that you can pinpoint these influences in each song makes it a really fun listen.

With that said, track 10, “Give Me Something To Believe In” really embodies their ska sound, and the very next song, “Sunstroke”, goes in the complete opposite direction and takes on the punk rock sound.

“Weekends All Year Long” is the last track on the album, hyping the energy back up to level 10 one last time before the album is over, and you inevitably play it again…I certainly did.

As a product of the later generation of the punk-rock days, I can honestly say I missed out on a good bit of the Less Than Jake glory days; but I can say that I truly appreciate what’s happening in See The Light, no to mention the blood, sweat, tears, and years these guys have put into the making of this.  The album drops November 12^th, and the band will be touring the states through December- act accordingly, Vinyl viewers!

*Vinyl Mag will also be INTERVIEWING these guys at their show at the Georgia Theatre in Athens, GA on November 6, so get ready – and Athenians, we better see you there!

It was an interesting experience making homemade cookies to Blanche Blanche Blanche’s most recent album, Breaking Mirrors. I felt mad and impatient, ready to throw my no-bake cookies against the wall. That’s an exaggeration, of course, but the essence is very real. Blanche Blanche Blanche even warns on Facebook, “Don’t come to our shows if you don’t want to kick ass or get beaten up!!!”

On the surface, Smith’s voice sounds monotonous and Phillips’ guitar sounds repetitive, but I think that’s the point. It is not that Smith is incapable of canorous sound, as we hear in “Papa’s Proof” and “Wink with both Eyes”, but her voice strengthens the rawness and punk edge of the anti-materialistic message. Repetition plays a large role in mocking the culture of materialism as heard in “Fire” and “Zeroing In”. At some points, the songs seem to mimic an infomercial with the repetitive beats and lyrics. This message becomes even clearer in “Crowd Noise” when Smith sings, “No need to relay things, as we respond to playthings. We decide the ratings” and “The same things are the good things”, which sarcastically portrays the idea that we consume media, and media consume us. Literally, I have watched in amazement people almost run into each other while texting and walking, and not once do they avert their eyes from the technology that has proven to be there for us when we most need it (BBB’s sarcasm is rubbing off on me).

The fact that it is dark and not catchy only emphasizes the anti-material attitude of BBB. It challenges you to sit and listen, and dares you to delve deeper to find out what BBB thinks about secular satisfaction. BBB wants us to ask ourselves, “What do ‘things’ mean to us?” What does “house, dinner, nail polish, remover….” mean to us? It is important to transmit these thoughts through an industrial genre, for it makes obvious the terror of being a slave to consumerism and conformity; it parodies our obsession with media as Smith screams, “I don’t want it, that’s the ad”.

Get passed the necessary harshness and blunt attitude to hear the message we all know is true: having ‘stuff’ does not make you smarter or a better person. If it is too much to take in, take a minute to reflect while listening to the ambient sounds of “Market Thrush”, and then vigorously nod your head or pound your fists to the rest of the album. Blanche Blanche Blanche’s newest album, Breaking Mirrors comes out November 5^th.

Contrary to what their last album may have led you to believe, The Swellers have not, in fact, ran out of places to go. The band released their latest album, The Light Under Closed Doors, earlier this month, and Vinyl got a first listen. Were we impressed? Definitely. Surprised? Not in the least.

As a devoted Vinyl follower (you are, right?), you already know that Vinyl has a deep appreciation for these guys (see previous interview from 2012). This album has proven us right about The Swellers once again.

The first song on the album, simplistically titled “Should”, kicks the album off with a bang. This is where they catch my attention; this is where I begin to get excited for what my ears are in for throughout the rest of the album.

The second track, “Big Hearts”, picks up the pace a bit and gets back to the roots of the age-old “punk rock problems.” Perspective is easily lost when it comes to what any band trying to make it actually goes through, but this track reminds you of the heart that goes into the lifestyle. Carry on, you wayward souls, because you’re efforts are not going unnoticed.

“Got Social” is the third track, and one that I feel I (and probably you guys, too) could really relate to. You know that fairweather friend/ex/whatever that decided they were too cool and, essentially, forgot where they came from or the ones who were there for them along the way? Those guys suck- this song does not.

The next three songs kind of fell under the radar a bit in comparison to the album, but not nearly enough to sway my affection from what is really going under those closed doors.

Another song that really caught my attention was “Designated Driver”.  I again found myself relating to the lyrics “Last night proved to be an adjustment/ against my better judgment/ cleaning up for drunken friends/ I must have slipped your mind again.” This track is full of catchy symbolism, and yes, I’m a sucker for that kind of writing.

The Swellers cleverly cap the album off with “Call It A Night”, a track singing of knowing when to give up and when to just say when.

All in all, this album had me feeling like I was discovering The Swellers for the first time all over again. Like a fine wine, these guys just keep getting better with age. The Swellers are touring the states throughout the month of November, and if you value our Vinyl opinion as much as I think you do, catching their set wouldn’t be a bad idea.

When Whiskeytown was merely a blip on the mind of a 19-year-old Ryan Adams, one alt-country group was already a step ahead. Formed in St. Louis in 1992, The Bottle Rockets – founded by Brian Henneman, Mark Ortmann, Tom Parr, and Tom Ray – treaded between the then-wide lines of punk and country. With the release of Bottle Rockets and The Brooklyn Side in 1993 and 1994, respectively, the band pulled the trigger on a roots-rock revolution, meeting eager listener and media acclaim.

20 years, nine releases and two new members later, BROX – as their fans affectionately call them – is still as fresh and relevant as ever. And on November 19, they’re proving it with Bottle Rockets and The Brooklyn Side Reissues, a deluxe set complete with two discs of remastered tracks and 19 unreleased bonus tracks. Fans will even be able to scour a 40-page booklet which sums up the band’s massive role in the 90s alt- era and includes contributions from the likes of Lucinda Williams and Steve Earle.

So, remarkable musical history aside, what’ll you experience when you take a listen? In many ways, Bottle Rockets is exactly what you’d expect from an early alt-country record: it’s loud, it’s fast, and for the most part, it’s fun. Its country roots are bold and apparent. Take “Gas Girl”, the record’s (insanely brief) second track: a Southern-style, simple guitar is the perfect backdrop for Henneman’s twangy vocals, bellowing about being in love with a gas station girl. Quite the country topic, and did we mention Henneman often sounds alarmingly like Michael Stipe?

But we have to admit that we were surprised at many clever and incredibly pensive lyrics on the album. “Wave that Flag”, for example, is a commentary on the widespread display of the rebel flag in the south today: “Maybe bein’ a rebel ain’t no big deal/But if somebody owned your ass/How would you feel?” There’s no denying that a message like this is refreshing to hear from a country-influenced band. Similarly, “Got What I Wanted” warns about the dangers of cheating, while “The Very Last Time” nearly bubbles over with anger toward a lover.

The great thing about this reissue, though, is that Bottle Rockets doesn’t have to end with “Lonely Cowboy” like it usually does. Listeners will be thrilled to find 13 previously unreleased tracks, including 1991 collaborations with Jeff Tweedy (of Uncle Tupelo and Wilco) and Jay Farrar (of Son Volt). These backing vocals and instrumentals add a more mature dimension to tracks like “Indianapolis” and “Idiot’s Revenge”.

A side-by-side listening of Bottle Rockets and The Brooklyn Side proves that while the former is groundbreaking and largely country-focused, in the latter we see a more mature BROX. The very first song, “Welfare Music”, puts into words the monetary struggle that thousands of Americans face every day; tracks like “Pot of Gold” have a more sophisticated, pared-down country feel, one that’s not so in-your-face. The gang has clearly developed with this release, and knows well enough that a twangy banjo has no place in a tune with lyrics such as, “If I’m just sleepin’/And this is a dream/Let me sleep forever, tell me I’m dead.” Truly, It’s no surprise that this album is the one that skyrocketed the foursome to fame.

But don’t go thinking that this band stopped having any fun in ‘94. Featured on The Brooklyn Side is perhaps the most comical – and our personal favorite – Bottle Rockets track. “Idiot’s Revenge” describes a kind of person all of us have met. Here, they hilariously parody a girl that pretends to like Dinosaur Jr., thinks she’s “sophisticated” and “political”, and is too good to listen to this insulting song written about her. “Radar Gun” pairs edgy instrumentals with a mockery of police officers, and, finally, “1000 Dollar Car” warns about buying a car that “ain’t worth shit.”

Again, following The Brooklyn Side are 6 bonus tracks, most of which are acoustic or live recordings at Mercury Lounge in New York. Besides being a rare glimpse into the 90s music scene, these recordings prove that the Bottle Rockets are just as talented live as they are laid down on a record. Check out “Farmer John” for an ideal example of their live flair, and make sure to pick up the entire compilation in November – your inner southern punk (it’s there, we promise) will thank you.