This fall, Sincere Engineer will release their second full-length and first for Hopeless Records, called Bless My Psyche. We recently spoke with singer/guitarist Deanna Belos and talked about how the album was written and recorded. Compared to its predecessor, Bless My Psyche features increased contributions from Belos’s bandmates, resulting in more of a collaborative and diverse sound. The group’s lineup is rounded out by Kyle Geib, (guitar/backing vocals) Nick Arvanitis, (bass/backing vocals) and Adam Beck, (drums/backing vocals). Also of note is the continued development of Belos’s songwriting, which is prevalent throughout Bless My Psyche. Additionally, we conversed about the album’s general theme, the band’s move to Hopeless Records, their plans for the rest of the year and more.

Self-released – Release Date: 6/11/21

Earlier this month, Meat Wave released a six-song EP, titled Volcano Park. Despite their last full-length being released over four years ago, the band has returned sounding as angst-filled and inspired as ever. The first song, “Tugboat,” begins with a foreboding riff and a marching rhythm. An instrumental bridge emerges that aggressively thrashes between chords and slyly finds its way to a shouted chorus. The song culminates with an incendiary ending that accentuates the drumming of Ryan Wizniak. The next entry, “For Sale,” exudes old school Chicago punk, mixed with a hint of surf rock. It’s not unlike Naked Raygun, but Meat Wave definitely puts their own distinctive stamp on the style.

“Yell at the Moon” opens with a discreet intro that explodes into a seriously badass riff. Here, the whole band is working together, like a true power trio, to generate a ton of noise. The vocals of singer/guitarist Chris Sutter sound somewhat imposing, thanks in part to a burly, stomping rhythm. The song continues to intensify until the epic riff returns and the band lets loose. Sutter justifiably exhibits a bit of swagger near the end, delivering several rock ‘n’ roll howls. The next track, “Truth Died,” changes things up with a spacey, alt-rock vibe. It seems likely that its lyrics reference the political climate in America during the last four years, and this matches the mood of the instrumentation extremely well.

The final song on Volcano Park, “Fire Dreams,” starts with a chugging rhythm that sounds like a slow-moving freight train. It plods along, anchored by bassist Joe Gac, before a pensive verse takes shape. The vocals are somewhat haunting and similar in tone to the two-note guitar riff. The middle section shifts and gets fairly quiet, as the band demonstrates their mastery of dynamics, before the song rises to the record’s most powerful and chaotic section. “Fire Dreams” is by all accounts a multi-layered entry and highly representative of the EP as a whole. The writing, performances and production of these songs are all spot-on, with Meat Wave sounding as though they’re poised to create something truly exceptional with their next album.

This Friday, Mike Lust will release his debut solo album, Demented Wings. Lust is both the frontman for Tight Phantomz and an accomplished producer, having produced or engineered albums by Urge Overkill, William Elliott Whitmore, Joan of Arc, Russian Circles and others. While Lust had been contemplating the idea of making a solo record for years, it wasn’t until the onset of the pandemic last spring that he discovered a newfound motivation. He explained, “I started what became the songs on this record maybe four years ago. I was making some good strides with them until my brother passed away. That just kind of took the wind out of my sails for a little while, as it would with anyone who loses someone close to them. When the pandemic hit last March, I thought it was as good a time as any to pick it back up. I started to quarantine at my studio, basically going up there all day, every day, and going home only to sleep. Before long, I could start to see what the arc of the record was going to be and just took it from there.”

The resulting full-length features a total of ten songs, which include an array of eclectic influences that ultimately come together to form a singular vision. Such characteristics are plainly evident in the album’s first single, “Danceteria.” When asked about the accompanying video for this song and where its concept came from, Lust said “The idea for the video came little by little until it was finally shot. I was watching a lot of Twilight Zone. It actually started with the idea of what happens in the dark when no one’s watching. In the small hours. Do the mannequins come to life? Do the animals take over the museum? That sort of thing. The idea evolved into what we finally have when we decided to shoot it at the Empty Bottle, which was the idea of the video’s director, Brendan Leonard. That feeling of the world being in suspended animation. All it took was a song to bring it back. That sounds kinda corny, so it needed to have a little eeriness to it. Some sadness. I’m actually quite proud of it, even if I don’t actually know what it’s supposed to mean.”

In regards to what he has planned to support Demented Wings, Lust detailed several of his goals. He said, “I do know that I want this record to reach as many people as it can. I guess putting together a band to perform this music is the first step. Playing live. I definitely enjoy the process of making videos and I do believe they are effective in getting the music across with some imagery, so more of that. I really just hope that this record affords me the chance to keep making music and that there’s an audience and an outlet for what I do. To help me build the momentum to keep doing this with some frequency, because there are so many more songs in the can.” Check out the video for “Danceteria” below and pre-order the album via Forge Again Records here.

Red Scare – Release Date: 4/23/21

Last month, Sam Russo released a surprise EP via Red Scare, called Refuse to Lose. With his previous full-length, Back to the Party, being released in March of 2020, Russo wanted to show his appreciation for everyone who listened to the album during the pandemic. So, he recorded these three songs, all of which are full band interpretations of tracks from Back to the Party. In addition to Russo, the lineup on this EP consists of Chris Stockings on guitar, Garth Vickers on drums, and Alkaline Trio bassist Dan Andriano.

The first entry is an energetic rendition of “The Window.” Despite the added instrumentation, Russo’s voice is still the most prominent element and his assured vocals pave the way during the anthemic chorus. The rest of the band provides a spirited and lively arrangement, elevating a song that was already great and making it even better. “The Basement” is a solemn, introspective number that’s reminiscent of early 2000s emo. Its lyrics are especially personal and read almost like a confessional as Russo reflects on an impactful relationship from the past. The rhythm section really shines on this track, delivering a multitude of unique tempos that keep things interesting throughout. The final song, “Young Heroes,” is upbeat and undeniably catchy, but the earnest nature of Russo’s songwriting is still retained. The song fittingly builds to a rousing sing-a-long and in the best possible way, leaves the listener wanting more.

Refuse to Lose demonstrates the quality of Russo’s songs, as they’re equally enjoyable in either a solo acoustic style or with a full band. Given how well this EP came together, it should be interesting to see what direction Russo opts for on his next release. Until then, those that have yet to sample his two most recent offerings should definitely take this opportunity to do so.

In late March, Kali Masi released their second full-length, titled [laughs]. The album represents a major step forward for the band and showcases the significant growth they’ve experienced since the release of their last record. We recently caught up with singer/guitarist Sam Porter and bassist Anthony Elliott and discussed how the album was written and recorded. (The band’s lineup is fortified by guitarist Wes Moore and drummer John Garrison). We also talked about what inspired some of the lyrics, the record’s overall message, their plans for the rest of the year and more.

Last month, Hanalei released its first full-length in over a decade, entitled Black Snow. We spoke with singer/guitarist Brian Moss, (The Ghost, Great Apes) and talked about what inspired the creation of this album. Upon learning that he was going to be a first-time father, Moss felt compelled to begin writing as a means to deal with the fears of bringing a child into such a turbulent world. We addressed his concerns regarding climate change, income inequality, social media and more, and how these topics influenced the lyrics on this record. Additionally, we discussed how the album was recorded, the overall style of its songs, what Moss has planned for the future of Hanalei and more.

Sell The Heart Records – Release Date: 3/5/21

Earlier this month, Decent Criminal released a three-song single, called DC/EP. These songs represent a noticeable shift for the band, as they’ve embraced new influences and further developed their songwriting. The first song, “Drifter,” begins with a hazy, atmospheric intro. Its verse exudes ‘90s alternative and segues to a quiet bridge before the chorus comes crashing in at full volume. The head-bopping hook is extremely infectious and likely to be stuck in listeners’ heads for days. “Reap” is a super-catchy entry with a modern Motown vibe. The inventive bass playing is the most prominent aspect of this song and it takes the lead during the chorus. Here, the bass lines bob and weave around the vocals, creating a unique melody and an especially distinctive sound. “Bizarre” is a no-frills banger, mixing power pop with classic rock ‘n’ roll tendencies. Despite being just over two minutes long, they manage to include a lot of impressive subtleties in a short amount of time. On DC/EP, Decent Criminal sounds like a band who’s ascending to a new level. With each of these tracks, it’s clear that the members are working together and doing what’s best for the song, rather than trying to be flashy. It’s that sort of unselfishness that lends itself to great songwriting. If this is any indication of what to expect from their next full-length, then fans should start to anticipate something special.

In November of last year, Missouri power trio Radkey released their latest full-length, Green Room. We recently spoke with bassist Isaiah Radke and discussed how they went about writing and recording the album. Green Room is an outstanding example of the band’s ability to advance their songwriting and incorporate a multitude of new influences. The end result is arguably their most varied, yet consistent record to date. Additionally, we talked about what it was like to put out an album during the pandemic, how they plan on staying connected with fans while they can’t play shows and more.

Next month, Milwaukee’s Devils Teeth will release their second full-length, called La leggenda di Chong Li. The album was self-recorded, primarily in a barn that was converted into an art space, resulting in a unique sonic signature. On this record, the band continues to advance their distinctive brand of rock ‘n’ roll, which incorporates elements of punk, surf, garage and more. Devils Teeth’s lineup consists of guitarist/vocalist Jon Hanusa, bassist/vocalist Eric Arsnow, percussionist/drummer Chuck Engel, and saxophonist Caleb Westphal. Check out the video for the album’s first single below and pre-order the record via Triple Eye Industries here.

Chunksaah Records – Release Date: 3/12/21

Next month, Ship Thieves will release their fourth album, called Irruption. The band is fronted by Hot Water Music singer/guitarist Chris Wollard and also features members of Samiam and The Enablers. Irruption is their first full-length since 2016 and represents their most focused and cohesive material yet. The record charges out of the gate with “The Embers of Enlightenment,” a streamlined and urgent rocker that finds the Ship Thieves operating at peak efficiency. Wollard’s vocals sound authoritative and the accompanying “whoa-oh-oh” backing vocals are perfectly placed. It’s a great song to open the album with and just plain kicks ass. “Ghost Town” is dissonant and somewhat moody, and features impressive bass work that really drives the song. It also offers an interesting contrast of a speedy rhythm with a more relaxed vocal pace. “Tangled Net” has a prominent rock ‘n’ roll influence, with an underlying punk rock foundation. It boasts a rousing sing-a-along in the middle section that’s easily one of the best moments on the record. “Virulent Man” also bears mentioning, as it recalls early Foo Fighters and contains an exceptional guitar solo. Irruption plays like a complete work as its songs are interwoven and tell an overall story. The production, courtesy of Ryan Williams, is spot-on and really elevates the songs as well. Hopefully the band will have an opportunity to play them in a live setting later this year, assuming it’s safe to do so, because these songs are tailor-made for a loud and rowdy club show.

Dine Alone Records – Release Date: 1/01/21

In early January, The Dirty Nil released their third full-length, titled F*** Art. Every aspect of this album, from the writing to the performances, as well as the production, represents a significant step forward for the band. The first song, “Doom Boy,” opens with an aggressive thrash metal intro, while singer/guitarist Luke Bentham’s commanding vocals anchor the verse. Palm-muted chords in the bridge lead the way to a sprawling chorus, which is underscored by tongue-in-cheek lyrics. The fact that the band doesn’t take itself too seriously makes the song that much better. “Done with Drugs” is another prominent entry and features a catchy power pop vibe. It boasts hook after hook in its chorus and its lyrics seem like somewhat of a commentary. They compare those who talk about making changes versus those that simply do so and quietly go about their business. It’s undeniably one of the strongest songs that they’ve written thus far.

“Hello Jealousy” enjoys power chords aplenty and is one of the most punk-leaning songs on the album, while “Possession” is reminiscent of ‘80s metal and includes a defiant, attitude-filled chorus. The record’s final song, “One More and the Bill,” is a suitable song to end with in that it brings together many of the reoccurring lyrical themes. A portion of its words include the following: “Gonna smash my TV / Smash my phone / Leave politics alone / Go outside for a while,” which is a feeling that many will find highly relatable nowadays. There’s also some eye-popping guitar shredding that’s present around the middle portion of this song that bears mentioning. As much as F*** Art signifies a new plateau for the band, it doesn’t seem as though they’re anywhere near their ceiling. They continue to evolve their own irreverent brand of rock ‘n’ roll and show no sign of altering from that trajectory anytime soon.

In July of this year, The Lawrence Arms released their seventh full-length and second for Epitaph, titled Skeleton Coast. We recently spoke with singer/bassist Brendan Kelly and talked about the album in detail. We discussed how it was recorded in a remote part of Texas, as well as what inspired some of the songs and the record’s overall concept. Skeleton Coast is undeniably one of the band’s top albums and features a matured sound yet still retains their classic characteristics. In short, very few bands are able to produce a record of this quality after being together for over 20 years. Additionally, this Friday, The Lawrence Arms will continue the proud tradition of their annual War On X-Mas show. This year’s edition will be an online festival with many notable guest appearances. The show starts at 7:00 PM Central and tickets can be purchased here.

Self-released – Release Date: 10/23/20

Last month, Dave Hause released a pair of new EPs. One is called Patty and features covers of Patty Griffin songs, while the other, Paddy, contains songs written by Patrick “Paddy” Costello of Dillinger Four. This review will focus solely on the Paddy EP, as I am much more familiar with the work of D4. In a few words, Hause has done a masterful job of reimagining these songs in a stripped-down, acoustic fashion. His interpretations draw the lyrics to the forefront and illustrate just how relevant Dillinger Four’s message remains after many years.

Earlier this month, The Addisons released a cover of one of Naked Raygun’s most beloved songs, “Vanilla Blue.” When Naked Raygun bassist Pierre Kezdy sadly passed away last month, The Addisons chose to put out this song, which Kezdy wrote, as a tribute to him. In terms of how they went about interpreting the song, bassist Rick Uncapher said “We really didn’t think about it too much. We just learned it, played it and recorded it pretty quick. Daisun DeRik, our old drummer, recorded it at his house in Brookfield. Tom, (singer/guitarist Tom Counihan) mixed it at his house in Aurora and Justin Perkins did the mastering at Mystery Room in Milwaukee.” He continued, “We’ve all been huge Raygun fans dating way back. Dave, (singer/guitarist Dave Lysien) and Tom’s old band, Not Rebecca, got to open for Raygun at the Riv in the early ‘90s, so we just wanted to pay tribute the best we could.” When asked about Pierre’s legacy, Uncapher added “Pierre was a really sweet guy. Super friendly, funny and humble. As a musician, we’ll remember his bass tone and his bold stage presence. And of course, we’ll remember his songs.” Check out The Addisons’ rendition of “Vanilla Blue” below and for those interested in helping out, there’s a GoFundMe campaign that was launched by Kezdy’s family.

Fat Wreck Chords – Release Date: 10/09/20

Earlier this month, Get Dead released their first album in four years, titled Dancing with the Curse. In that time, they’ve managed to significantly reimagine their sound and create what is easily their strongest record yet. The opening track, “Disruption,” has an ominous intro with vocals that feature a spoken word/hip hop influence. Before long it segues seamlessly to ska upstrokes and an off beat rhythm. The gravelly vocals shift to a more rapid-fire delivery and then a head-bopping chorus takes over that’s boosted by more ska guitar. There’s certainly a lot going on, but it’s all blended together in a fluid manner. The end result is a fairly dark and raw interpretation of ska, not unlike Operation Ivy.

“Fire Sale” is a fast-paced, punk-leaning song with somewhat of a Swingin’ Utters vibe. It also contains a massive chorus that comes crashing through around the one-minute mark. “Confrontation” is an urgent song that takes shots at the left and the right, and talks about how divided our country is. It builds to a frantic pace before describing an active shooter scene, which is both powerful and sadly still topical. Another noteworthy entry is “Hard Times,” as it incorporates organ with a strong vocal hook. It also offers some of the album’s best guitar leads.

With the final song, “Take It,” Get Dead may have saved the best for last. It begins with a rousing intro and quickly transitions to double-time ska in the verse. A catchy bridge paves the way to a sprawling, sing-a-long chorus that hits like a tidal wave. It conveys a defiant message that urges listeners to reject what passes for normal in today’s society. In short, this is the kind of song that’s best enjoyed at full volume and simply a great way to end the record.

Dancing with the Curse sets a new benchmark for Get Dead and ushers in a new era for the band. Everything from the writing to the performances, and the production, represents a substantial step forward from their previous material. This is without a doubt one of the best punk albums of the year and one that will likely be influential for years to come.