Album Review: Aspiga - Every Last Piece

This review was originally published on DyingScene.

Aspiga is a three piece pop punk act hailing from New Jersey, whose only goal is to make people feel things. Running at only a mere seven tracks long, Every Last Piece (now out on Paper + Plastick Records), the band’s third studio album, takes a risky move by trimming off extraneous fat and aims right at the aural equivalent of a gut of the listener.

Every Last Piece is filled with self-loathing and aggressive riffing that would any 90’s punk rocker smile. Frontman Kevin Day’s vocals have a way of both snarling their way across the album, while also taking the time to find themselves deep in though. The first half of the album lashes out immediately and relentlessly: from the opening refrain of “Don’t you forget- because I won’t” in “Save Your Spit” to the repeated phrasing “I’ve discovered I hate myself” for a solid minute in “Welcome to the Sympathy Party”. Toward the end of the album, Day shows off his Schwarzenbach-ism’s, dropping lines of wisdom such as “I say what I don’t mean, it keeps me from feeling anything” or the introspective “So I dig until I find every last piece of me” in the album’s final two tracks, “On the Defensive“, and “The Excavation” respectively.

Musically the album finds itself somewhere along the lines of taking 24 Hour Revenge Therapy and injecting it with the energy of Through Being Cool. From the fast striking tracks that kick off the album, to the mellow paced middle, and the intricate instrumental work that closes things out, Every Last Piece finds the perfect balance between taking influence from what came before while never sounding exactly like its predecessors.

Aspiga is not your run-of-the-mill modern pop punk band, but rather the band is a dying breed in the pop punk realm, drowning in the waves of chugged breakdowns and gang vocal choruses about how much best friends are better than girlfriends. However, instead of simply laying down and accepting defeat, Aspiga churned out Every Last Piece, a filler-free and heavy hitting album that runs short on the playtime, but long on the impression it will leave on listeners.

Album Review: Hostage Calm - Please Remain Calm

Hostage Calm is one of those bands that I never got around to checking out simply because I had never heard their name until recently. Looking back on their discography, particularly their self-titled album from 2010, it's weird that I overlooked them. But I digress, better late than never, right?

I first heard of Hostage Calm while doing a shift for DyingScene. They had just premiered a then-new song "Don't Die on Me Now" and it was said to show up on their then-upcoming (now newest) studio album Please Remain Calm. I listened to it, thought it sounded okay for a live video, and then promptly forgot about it. And now I've been listening to Please Remain Calm almost non-stop for about three weeks.

In spite of the almost Black Flag homage and street punk font style on the front cover, Hostage Calm plays a much more (dare I say it?) calm approach to punk rock. Anyone who heard their self titled album would know that, but alas I am not one of those people. The songs are composed to incorporate various stringed instruments in addition to the standard rock set up, the the harmonies that are used are seldom used by punk bands that aren't the Smoking Popes. The lyrical themes reflect the unease and concerns of growing up in these tough economical times to which any jaded youth can relate, punk rocker or not.

Due to its use of some very non-punk elements, Please Remain Calm was kind of off-putting at first. The layered vocals on Patriot sound like one of the forgotten b-sides to Weezer's Songs from the Black Hole, and The "M" Word utilizes a full 60's pop orchestral backing track to the point that you might question if Phil Spector secretly produced it. Don't get me wrong, this album is damn good- just know that if you're expecting working class punk rock (or even gruff, jaded PBR-soaked punk rock), you'll be in for a disappointment. Much like how Streetlight Manifesto has taken influences from outside of ska and turned their music into a sound that is wholly them, Hostage Calm has done for the same for punk.

Definitely worth checking out.

RIYL: Smoking Popes, Cheap Girls, Pinkerton-era Weezer

Oh yeah, the whole thing is available to stream or purchase on Bandcamp right here.

Album Review: Green Day - ¡Dos!

¡Dos! is Green Day’s tenth studio album as well as the sequel to September’s ¡Uno!. As everyone knows, doing a sequel can be a risky move. There's the potential to be vastly superior to the original (Evil Dead II, T-2: Judgment Day, The Empire Strikes Back), but there's a bigger chance that it'll wind up being a major disappointment (Pirates of the Caribbean: Dead Man’s Chest, The Matrix: Reloaded, The Lost World, Blues Brothers 2000, Babe: Pig in the City). ¡Dos! is a bit of a mixed bag, so it’s a good thing for Green Day that the concept of being a direct continuation of the previous installment doesn’t necessarily apply when it comes to sequel albums (unless you’re a hip-hop artist or Meatloaf).

Whereas ¡Uno! was essentially the power-pop album that Green Day probably would have recorded if they hadn’t lost the master-tapes to the now lost Cigarettes and Valentines, ¡Dos! has been described by the band in press releases as essentially the second Foxboro Hot Tubs album. In fact, one of the songs (“Fuck Time”) was even initially debuted as a Foxboro Hot Tubs song. Describing the album as a follow-up to 2008’s Stop, Drop and Roll isn’t too far off from being accurate- although since the material is being released under the “Green Day” name, the Bay Area trio does let their Green Day roots bleed through the songs’ composition more than they would have had it been released officially by the Hot Tubs. On ¡Uno!, many riffs and chord progressions sounded like them came from the band’s pre-2004 catalogue- with ¡Dos! the songs have a more distinctively American Idiot / 21^st Century Breakdown flavor. That’s not to mean that all the songs are 5 minutes in length and begin with a slow piano segment before transforming into loud arena anthems (because they aren’t), but it’s not completely out of the question to listen to some songs and think that it sounds familiar. The chord progression in “Makeout Party” could almost be a warped version of 2009’s “East Jesus Nowhere”, while “Wild One” could very well be a revamped song that was discarded during the American Idiot sessions (not only the sound of the song, but also the lyrical references to giving up on Jesus lend to that feeling of angst and despair).

With that in mind, it’s also important to remember that it was established with the release of ¡Uno! that Green Day has dropped the “rock opera” concept that was ever-so-prevalent on American Idiot and 21^st Century Breakdown. ¡Dos! continues to take it easy on the high-level concepts and socio-political imagery in the lyrics, instead opting to focus on “fun party songs” for most of the album’s duration. Tracks like “Fuck Time”, “Makeout Party”, “Lady Cobra”, “Nightlife” and “Wow! That’s Loud” are all good old fashioned rock and roll songs about drugs, partying, and sexual attraction (or just sex). They’re sure to garner some criticism for the perceived lyrical simplicity, particularly “Fuck Time”, but has loud rock music about partying ever been known for deep and introspective lyrics? Though to be fair, “oh baby, baby it’s fuck time / you know I really wanna make you mine” does sound pretty dumb after the third or fourth time hearing it in the same sitting. “Nightlife” is the standout track out of all of them, not because it’s necessarily the best song on the album, but because it’s the only song on the album that really finds the band exploring new territory. The song is a tad slower than most other songs on the album, with a lead guitar line that is very James Bond-eque, and features guest vocals contributed by Lady Cobra, of The Mystic Knights of the Cobra, who raps her verses. The barriers between the various subgenres of rock and rap have been crossed many times before (from the Aerosmith/Run DMC and Anthrax/Public Enemy collaborations to very hip-hop influenced attitude of NYHC to *shudder* nu-metal), but it’s a line that Green Day has never crossed before. It’s not the best track that they’ve ever recorded, but kudos to them for still trying something new.

It should be noted that ¡Dos! is more than just party anthems. The album begins with the acoustic 67-second “See You Tonight”. It’s kind of a filler track, but it does add some cohesiveness to the album’s feel. First single “Stray Heart” is a pretty standard Green Day song, with a bouncy bass and simple melody, and “Ashley” is akin to one of the band’s faster songs from the nimrod.-era. [Note: It's kind of embarrassing that the phrase “could care less” makes an appearance on “Ashley”.] The album’s closing track, “Amy”, is a tune dedicated to the late Amy Winehouse. It seems a little out of place to think that Green Day would write a song for her, but considering Winehouse’s well-known party persona, it’s almost fitting that an album full of party songs would end on a somber note. In a way, it’s symbolic of the effects of too much partying.

With less diversity present in the songs ¡Dos! isn’t really as exciting as ¡Uno!, although the themes of partying and sex stay consistent enough that ¡Dos! actually winds up being the more cohesive of the two albums. For better or for worse, ¡Dos! also sounds like a more logical follow-up to the band’s post-Warning output, albeit with less lyrical heaviness and without the cast of metaphorical characters. ¡Dos! is a decent album to throw on at a big party (or a great album at a Green Day-fan gathering), but it’s best to hide it when the punks come over to play. 

Album Review: Broadway Calls / Mixtapes - Vision Quest

 This review was also published on DyingScene.

Recently Oregon’s Broadway Calls signed to No Sleep Records. Less recently, but still kind of recently in the grand scheme of things, Ohio’s Mixtapes were also signed to No Sleep Records. Two modern pop punk groups on a label that isn’t specifically known as a pop punk label… Why not put out a split EP between them? Enter: Vision Quest- Broadway Calls’ debut for the label, and Mixtapes’ third or fourth for the label depending on whether or not samplers count as definitive releases.

When compared to the previous Broadway Calls release, the Toxic Kids EP, Vision Quest marks more of a “return-to-format” sound. Toxic Kids was a solid collection, but there was a very rough quality to the EP as a whole, and it was uncharacteristic of the band’s firmly established pop punk sound. Both of the band’s contributions on Vision Quest recreate the refined sound of Broadway Calls and Good Views, Bad News – a move that is very welcome here, as it’s the sound that made everyone fall in love with the band in the first place. “You Got Me” is arguably the band’s best song written since “To the Sheets” (subjectively, of course). As far as their half goes, Broadway Calls really brings their A-game to Vision Quest, and easily plants the seeds of anticipation for their upcoming No Sleep Records debut.

Mixtapes, on the other hand, are coming fresh off the high of releasing their first proper studio full length, Even on the Worst Nights. Undoubtedly these songs were recorded during the same studio sessions, as the band made mention of recording several songs that didn’t make the final cut, and it shows. Chunky riffs, light guitar melodies, lyrics of self-doubt, dual vocals, and distorted voices at the end of songs discussing their inability to sing- all classic elements of a Mixtapes song (normally when a band is as young as Mixtapes it would be weird that there’s already a “classic songwriting formula”, but when a band puts out as much music as Mixtapes it’s only appropriate that they would have developed a “classic formula”).

                                                               

Vision Quest probably isn’t going to turn over any new mega-fans for either band, but it’s definitely not going to turn away anyone who is already either a casual or mega fan. It’s a solid, albeit it kind of short, collection of songs that is most definitely a welcome addition to both the Broadway Calls and Mixtapes discographies.

4/5

RIYL: The Wonder Years, Direct Hit!, The Dopamines

Album Review: Direct Hit! / The Haverchucks - In Split

This review was originally published on DyingScene.

Not too long ago Kind of Like Records and Bright & Barrow announced a split between Madison, WI’s Direct Hit! and Richmond, VA’s The Haverchucks. With two relatively young pop punk bands, one already established in the scene and the other just beginning to break out, releasing two brand new songs each, what’s not to love? Plus, check out that sweet cover art. Neither band would have been a likely candidate to have appeared on Beavis and Butthead, but the homage is still greatly appreciated by someone who can still remember watching the final episode of the show’s original run back in 1997.

The Direct Hit! half of the split takes a step backwards from the band’s last release (their split with Hold Tight!, which found them exploring near-metalcore territory). Across their two songs, Direct Hit! shows progression from the infectious pop punk sound that they’ve established over the last few years, while also still being able to retain it at the same time. “Operation” is a cover (originally performed by The Side Project, another pop punk band from Wisconsin) although cover or not, Direct Hit! takes a gritty approach to the song, akin to the songs from the band’s previous split with The Jetty Boys in which vocalist Nick Woods continue to use his new, rougher singing style. The lead guitar sounds almost like Teenage Bottlerocket, and the repeated chorus of “you’re just a tumor in my brain (I need an operation)” while being backed by handclaps is bound to get stuck in your head. While the song doesn’t differ much from the original, Direct Hit! manages to make it sound like it is a song of their own. Direct Hit!’s other song, “Fallout Shelter Television”, is a sing-along that ends just as abruptly as it begins, complete with a fart at the end of the track, nodding (intentionally or unintentionally) to the band’s predecessors in the Descendents and blink-182. This is Direct Hit! at their finest: gang vocals mixed with blazing speeds and a dash of humor.

The Haverchucks, on the other side of things, play pop punk as if it were 1992 again. Both of the band’s contributions would sound right at home in The Mr. T Experience discography, nasally vocals complimented with a bouncing bass and a melody that’s way catchier than something this distorted should be. “Winding Down” kicks off the Haverchucks side, and it comes complete with chants of “let’s go!”, and a rocking guitar solo that leaves before it wears out its welcome. In the other contribution, “(The Girl Gave Me) The Runaround” shows off the band’s ability to utilize Weasel-esque “woah-uh-woahs” with mastery, quite possibly being the best song that Dr. Frank never wrote.  While the band is more or less channeling the early 90’s Lookout Records roster, The Haverchucks stand out by having a bassist they actually utilize as opposed to following the root note of the guitar. This is one of the things Green Day also used to break out of the mold, so get into The Haverchucks now before they begin writing high concept socio-political rock operas.

If this collection of songs is any indication of what either band’s next respective full length is going to sound like, you should already consider them the best pop punk albums of 2013. Fuck you, and get pumped.

Album Review: Domestikated - 5 Minutes in Time Out!

Domestikated is a two piece punk band that puts a lyrical emphasis on mocking stereotypical suburban life. 5 Minutes in Time Out! is the band's debut release. With song titles such as "When I Was Your Age" and "Don't Make Me! (Turn This Car Around)", the band unleashes a 6 minute fury on straight-laced businessmen, soccer moms, and angst-ridden teens. In terms of tone and attitude, there hasn't been such a snotty punk band mocking suburbia with such a sharp tongue since the Descendents (in my opinion, that is).

The EP's highlight might be the mid-album track "What's His Name (feat. Becca)", which is a 58 second documentation of an argument between an angry teenage girl (the aforementioned "Becca") and her parents (which, ironically, seems to consist of two men) [Note: I'm not saying there's anything wrong with having two fathers. It's only ironic because the band's whole schtick is mocking suburban stereotypes and if I've learned anything from movies and the internet, suburbia has a tendency to look down on same-sex couples. Perhaps that was done intentionally though]. During the back-and-forth is lots of shouting, including the ever-popular teenage catch phrases "I hate you" and "You're ruining my life!".

The only downside to 5 Minutes in Time Out! is that only runs for 6 minutes, although the fact that its title and its runtime don't match is almost a downside too. Generally, with EPs (and especially with punk bands), running for a couple of minutes is the norm, although considering that this band and EP popped out of seemingly nowhere I don't think it would've been too much to ask for a couple more songs. But I guess 5 Minutes in Time Out! is just the beginning. It's short, fast, and hilarious. With any luck, this will be only be their Fat EP. If that's the case, I can't wait until the next release drops.

You can stream the whole thing right here. Highly recommended.


(oh yeah, I didn't mention this sooner but the band members consists of Jordan Pundik (New Found Glory) and Ethan Luck (Relient K). I thought it'd be more fun to push the music rather than focus on the fact that the members come from bigger projects. Also, "Becca" is really Hayley Williams. Enjoy!

Album Review: Future Idiots - Neighborhoods & Morningwoods

This review was originally published on DyingScene.

One of the biggest and most common critiques that can be found in nearly every circle of music is “I miss the old stuff”. This can take on a myriad of forms… “The music is too serious now”, “They write too many ballads these days”, “I miss the songs about masturbating and smoking pot all day”, but essentially all these complaints really mean the same thing. Sure, there will always be an audience for a band somewhere, regardless of the changes made to the band’s music, but it’s extremely rare to ever see an entire fanbase collectively agree about how much they like the change in direction that a band has taken- especially in this day and age of anonymity and dissent on the Internet.

Last year Blink-182 released their first album since returning from their hiatus, Neighborhoods, to mixed reaction from more or less the entire world. Among the negative complaints (other than from the traditional punk rockers who have always hated blink-182) was that there was a huge influence of the band member’s other projects that was found squeezed into the disc, particularly Tom DeLonge’s very un-punk band Angels and Airwaves. This should have been expected, given that the band members spent four years apart working on their own individual projects, but I digress. Once the album dropped, it was common to find YouTube videos of people who either remixed the audio files, or just re-arranged the songs themselves to sound more like “classic” blink-182. But what if some band was to be ambitious enough to re-record the entirety of Neighborhoods in the style of “classic” blink-182? If you think no band would be idiotic enough to attempt such a thing, then you must be unfamiliar with Sweden’s Future Idiots, who have done just that very thing with their newest album Neighborhoods & Morningwoods.

Given that Neighborhoods & Morningwoods is essentially nothing more than a tribute album (on multiple levels too, that title is something that the blink-182 of 1999 would have never passed up), it would be un-fair to treat it the same way as if it were an album full of original material. It’s very clear that Future Idiots have taken a lot of influence from blink-182 (particularly 1997’s Dude Ranch and 1999’s Enema of the State), and the band really understands how to cop the style and re-arrange the songs to make them sound ten years older than they really are. This works well on the songs that were already a huge departure for blink-182: “Up All Night”, “Love Is Dangerous”, and “Fighting the Gravity” are all given the “sped-up-tempo-and-added-harmonies” treatment, creating new listening experiences for fans. Future Idiots opted to not cover the “Heart’s All Gone Interlude”, and for some reason included a second version of “Up All Night” tacked on to the end of Neighborhoods & Morningwoods in its place. The second version is more or less the blink-182 version, but played faster (“Natives” and “Snake Charmer” also suffer from this fate), whereas the first version takes more creative liberties, even going as far as to include a slow piano interlude that’s very similar to the one found in “Adam’s Song”.

On the original Neighborhoods there is a string of songs that alternate between sounding like what would happen if modern blink-182 tried to re-record Enema of the State (“Wishing Well”, “This Is Home” and Take Off Your Pants and Jacket (“Kaleidoscope”, “MH 4.18.2011”)). On Neighborhoods & Morningwoods, these songs are played with the distortion cranked up and more palm-muting. Given that these songs already kind of sounded like blink-182’s earlier material, there wasn’t a whole lot to do with them, although the band does try to present them in a new fashion.

Then there are the re-arrangements that are kind of questionable. The blink-182 recording of “Heart’s All Gone” was already praised as one of the strongest songs on the original album, even garnering comparisons to Bad Religion. Rather than going for a straightforward cover, Future Idiots re-work the song to make use of elongated syllables and fast, choppy guitar work.  Kudos to the band for making changes to these songs to make them more of their own, but sometimes being creative doesn’t always work out.  The band’s cover of the Deluxe Edition song “Even If She Falls” suffers from sounding more or less like the original, but the band lucks out as “Even If She Falls” was one of the better songs on Neighborhoods anyway.

As a novelty project, Neighborhoods & Morningswoods is a pretty fun listen for blink-182 fans. Sure a majority of the songs don’t do a whole lot other than drop the long intros or weird synthesizer parts, but the goal was never to re-record the album as if Radiohead or Pink Floyd had written it- Future Idiots merely wanted to inject a different life into the album while also paying tribute to one of the most influential mainstream acts on the modern pop punk scene.
3/5
RIYL: blink-182, All Time Low, Forever the Sickest Kids