In February, Airstream Futures released their second album, titled Le Feu Et Le Sable. We recently conducted a phone interview with singer Devon Carson and guitarist Jeff Dean. (The band’s lineup also consists of drummer Mike Soucy and bassist Katie Karpowicz). We talked about how the album was written and recorded, what some of its songs are about and the meaning behind its title. The record demonstrates the band’s ability to further sharpen their sound, which incorporates elements of punk, indie rock and alternative, as well as a touch of added aggression. We also discussed the band’s future, including how they plan to navigate these uncertain times.
Earlier this month, The Addisons released their latest EP, called 100% Familiar. It was recorded by Jeff Dean at Million Yen Studios and mastered by Justin Perkins, and contains a total of five songs. When asked about the writing process for this record, singer/guitarist Tom Counihan said, “These songs are the first that we worked out with our new drummer Jessie, (Carmona). I think he had a big effect on the way they ended up sounding. Dave, (singer/guitarist Dave Lysien) and I write the initial ideas separately, but once we bring songs into the band, we all contribute to working out arrangements, bridges, etc.”
When comparing 100% Familiar to the band’s previous material, Counihan said “I think we tried to challenge ourselves a little more on this release. While we were getting ready to record, we spent a lot of time kind of dissecting the songs and trying to be more purposeful about each part.” Bassist Rick Uncapher added, “It’s definitely in the same vein as what we’ve been doing, but I think we tried to change it up a bit to keep things interesting. It’s probably subtle, but there are a lot of guitar effects, keyboards, background vocals and added percussion that we did to fill out the songs.” Check out the EP below and head to Bandcamp to buy a copy.
In February of this year, Chicago trio Mammals released their latest single, titled Look Around You. The record demonstrates the band’s ability to continually evolve their sound and develop their shared musical chemistry. The title track is up first and it begins with an extended instrumental intro. A modern garage rock vibe takes shape during the verse before transitioning to an upbeat, driving chorus. Its lyrics talk about trying to be present in the moment and the song appropriately concludes with the band rocking out. The next entry, “In the Darkness,” features a power pop intro that quickly shifts to a moody verse with echoed vocals. The tone of its lyrics complements the spooky style of music and there’s a definite influence of ‘60s rock ‘n’ roll too. The song represents a stylistic curveball that’s unexpected yet certainly effective. For the third and final track, “Expanding Heart,” Mammals likely saved the best for last. It’s a fast paced, punk-leaning tune with a distinctive vocal melody in the chorus. The drumming involves various imaginative rhythms and there’s a noteworthy bass solo towards the midway point. The song demands repeat listens and leaves the listener wanting more, which frankly is how it should be. Look Around You not only shows a lot of promise, but also contains what are arguably the band’s best songs yet. Take a listen to the EP below and grab a copy via Bandcamp.
Last Friday, The Suicide Machines released their first album in 15 years and first for Fat Wreck Chords, called Revolution Spring. The band originally disbanded in 2006, but got back together in 2009 and have been playing shows sporadically ever since. They waited until they found the right inspiration to start writing songs and their patience more than paid off, as this record is easily among the best in their entire catalog. The first track, “Bully in Blue,” is an ideal album opener in that it’s highly energetic and contains thought-provoking lyrics. It spotlights the hyper-speed bass skills of Rich Tschirhart, while addressing white privilege and police brutality. It also challenges the listener to possibly think about this topic from a different perspective. The second entry, “Awkward Always,” changes gears and features a strong ska influence. It includes clean guitar upstrokes and an off beat rhythm, and highlights the creative subtleties of drummer Ryan Vandeberghe. The song looks back on the past and recognizes that some feelings still hold true after many years.
Another definite highpoint is “Trapped in a Bomb,” which talks about a dear friend who passed away unexpectedly. The bass takes the lead during the verse and paves the way to an urgent chorus, (“I will bring you whiskey in the winter and flowers in the spring”). The song represents arguably the best vocal performance from singer Jason Navarro, with the raw emotion clearly evident in his voice. “Simple” is an uplifting sing-a-long that sounds especially relevant in times like these. It also witnesses guitarist Justin Malek put on a clinic and deliver loads of impressive guitar leads. The album concludes with “Cheers to Ya,” a classic blast of ska-punk that incorporates a horn section to provide melody over distorted power chords. The song has a pogo-inducing chorus and an overall reflective tone, which is a fitting way to end the record.
Revolution Spring takes elements from all of The Suicide Machines’ previous albums and adds contemporary touches. Its lyrics are very much in the moment and tackle some dark topics, but there’s a distinct sense of optimism that shines through. Additionally, producer Roger Lima, (singer/bassist from Less Than Jake) did an outstanding job of bringing these songs to life and really capturing the energy of their live shows. In short, this is one hell of a comeback album that finds the band sounding as though they never missed a beat.
Last week, Alkaline Trio released a new, three-song single, titled E.P. It was supposed to coincide with the start of a tour with Bad Religion, but with the shows postponed till fall, the band chose to go forward with the initial release date for these songs. The first entry, “Minds Like Minefields,” is led by singer/guitarist Matt Skiba and begins with ominous, echoed vocals. A rhythmic verse soon emerges, not unlike the style of their 1999 EP, I Lied My Face Off. It quickly pivots to a double-time chorus before eventually landing at an instrumental interlude. This section features ghostly backing vocals and sparse piano accents, and ultimately returns to the breakneck pace of the chorus. Overall, it’s not a typical song structure, but it illustrates how the band is freely exploring new territories and seemingly having a lot of fun while doing so.
Singer/bassist Dan Andriano takes the lead on the next song, “Radio Violence,” which sounds like a natural progression from his most recent solo LP, Party Adjacent. It finds him singing over relaxed, melodic guitar leads that easily transition to a driving chorus with layered backing vocals. It’s concisely-written and includes lyrics that talk about persevering through a tough situation, and clearly that’s something most everyone can relate to nowadays. The third and final song, “Smokestack,” is entirely acoustic and also sung by Andriano. It’s reminiscent of Tuesday, his band prior to Alkaline Trio, with lyrics that look back on his teenage years, (“Do you really believe that didn’t mean anything? / Do you really believe those days didn’t mean a thing? / Cause I’m still believing that means everything / Do you really believe those days didn’t mean a thing? / Cause I sure don’t / You made my life / You changed my life”). There’s a definite beauty in the straightforwardness of these words, which helps to make the song instantly memorable after just one listen.
With E.P., Alkaline Trio is continuing on the trajectory they’ve established since the release of their excellent and most recent full-length, Is This Thing Cursed? These three songs harken back to the band’s roots, recalling a time when they embraced more spontaneity and a carefree attitude. If E.P. is any indication as to where Alkaline Trio is headed with their next album, then fans should absolutely be excited.
Earlier this month, The Bombpops released their second full-length on Fat Wreck Chords, called Death in Venice Beach. It finds the band taking a noticeable step forward, both in terms of the songwriting and their performances. One of the early highlights is “Zero Remorse,” which features dark imagery in its lyrics and is somewhat reminiscent of Crimson-era Alkaline Trio. It also offers a unique vocal melody during its chorus and subtle intricacies with the bass lines and drum fills. “Notre Dame” begins with a cool bass intro before segueing to some classic West Coast punk stylings. Its lyrics talk of loss and moving on, a theme that reoccurs throughout the album. “Sad to Me” has a definite Letters to Cleo vibe and is arguably the catchiest song on the record. Its highpoint comes near the end, where it quiets to just vocals and drums before the rest of the band joins in to power through the chorus one last time. In short, it’s a perfect summertime pop song.
“Can’t Come Clean” is an upbeat, punk-leaning track, complete with buzzsaw guitars and impressive vocal harmonies. It also includes a brief keyboard part that recalls Bark Like a Dog-era Screeching Weasel. “13 Stories Down” is a total sing-a-long that somehow manages to teleport the listener directly to a beach on the Pacific Ocean. It boasts a galloping beat, great melodic guitar work and even a dash of humor, (“I’m not an alcoholic, I just play one on the weekends”). “Radio Silence” is filled with hooks and incorporates some doo-wop backing vocals, while album closer “Southbound Stranger” charges out of the gate with a rhythm like a runaway train. In fitting fashion, its lyrics speak of an unknown future, but also accepting the uncertainly that lies ahead.
A variety of influences are displayed throughout Death in Venice Beach, but The Bombpops manage to bring them all together and create a distinctive style. Additionally, the record sounds phenomenal, thanks to the collaboration of producers Yotam Ben Horin, (Useless ID) Fat Mike, (NOFX) and Chris Fogal, (The Gamits). Not only is this a solid album with many strong songs, it’s also exceptionally catchy and proof that The Bombpops are definitely a band on the rise.
We’re thrilled to announce that The Methadones will be playing their first hometown show in nearly five years this summer. Since initially disbanding in 2010, the band has only played twice, (an abbreviated set in 2011 and at Red Scare’s tenth anniversary show in 2015). After forming in 1993, they went on to release five studio albums, a split record with The Copyrights and finally a compilation album in 2010 that contained all the songs from their various singles, (as well as the final five songs they ever recorded). While often labeled as pop punk, The Methadones’ sound was truly a lot more multi-dimensional. Elements of classic Chicago punk and power pop were often present, along with an emphasis on vocal melodies, intricate guitar leads and introspective lyrics. In short, very few bands hold up this well over time. The band has yet to reveal any details as to their planned setlist, but rest assured that they’ll deliver a career-spanning set. The Methadones will play Chop Shop on Saturday, June 27th with support from Direct Hit!, Dan Vapid and The Cheats, and Capgun Heroes. The show starts at 7:00 PM, is 18+ and tickets go on sale this Friday.
In January, Anti-Flag released their twelfth studio album, titled 20/20 Vision. Compared to their previous full-lengths, this record is unique in that it directly addresses the current president. In the past they’ve favored a less specified approach, as the topics they write about often reoccur throughout different administrations. However, given today’s unprecedented political climate, it’s easy to understand why they chose this route.
In 2014, James VanOsdol started the Car Con Carne Podcast with his friend Mike Bratton. The initial concept was to record a podcast inside various barbeque restaurants, but the pair quickly realized that due to the background noise that’s often present in such locations, this idea wouldn’t be possible. With Bratton being a professional voiceover artist, he suggested recording in a car, as that’s where he would often record an audition or a demo if he was away from his home studio. Bratton indicated that the inside of a car is relatively soundproof, and that all he needed was his laptop and microphone to make a recording. With this realization, Car Con Carne was born.
Last month, The Reaganomics released their first album since 2011 and second for Red Scare, called The Aging Punk. The band is known for their humorous lyrics and proficient musicianship, and both of these traits are found in abundance on this record. The first song, “The Four Clichés,” pokes fun at many of the current trends in the punk rock community, (“I wanna write a good punk song this year / I need to find out what is hip / If I want to write a punk song this year / I better start with the generic shit”). It features dueling melodic guitar leads in its closing minute and also finds the band directing their humor inward, proving they don’t take themselves too seriously. “Dear Jaymez,” as in James Hetfield, is an ode to Metallica that many longtime metal fans are sure to relate to. It mocks some of the group’s flawed albums like Reload and St. Anger, and also boasts a lightning-fast, intricate guitar solo that would likely make Kirk Hammett proud. The song even manages to end with a thrashy outro that recalls the stylings of Metallica’s classic first four records. “Grown Ass Man” is one of album’s funniest tracks, addressing midlife crisis with a menacing bass line and an old school punk vibe. The song just might be all too applicable for those who prefer standing in the back during shows, (“I’m busting out of my jeans / My hairline recedes / There’s a growth on my back and a crick in my knees”). Another notable entry is “Summer Maiden,” which tells the tale of a group of friends who go to see Iron Maiden in the suburbs of Chicago. It includes some of the record’s best guitar leads and strongest drumming, culminating in a full display of this foursome’s love of metal. The Aging Punk finds The Reaganomics significantly surpassing their previous work, both in terms of their songwriting and performances. Producer Dan Tinkler also did an excellent job behind the boards, providing a clean yet powerful recording. Fans of Chicago punk, ‘80s metal or Andrew W.K. shouldn’t delay in checking out this album.
In late October, the Bruce Lee Band released their latest EP, called Rental!! Eviction!! We spoke with singer Mike Park last week and discussed how it was written and recorded. We also talked about some of the song’s lyrics and their recent shows in San Francisco and Hawaii. On this recording, the band’s lineup consists Jeff Rosenstock on bass, Dan Potthast on keyboards and guitar, and Kevin Higuchi on drums, (Park is responsible for vocals and saxophone). Rental!! Eviction!! marks the band’s fifth release and it’s likely their most cohesive and catchiest to date. With lyrics that address a range of topics and the inclusion of various genres, this is an EP that’s sure to appeal to a wide audience.
Several months ago, Mean Jeans released their latest full-length on Fat Wreck Chords, entitled Gigantic Sike. We recently caught up with singer/guitarist Billy Jeans and talked about the inspiration behind the album’s name, the quick manner in which the record was made and what some of its songs are about. Gigantic Sike features a stripped-down approach to the Ramones-influenced punk that fans have come to know, but there’s now a greater sense of honesty found in the lyrics. To be fair, there’s still plenty of songs about partying, but it also addresses the notion of what to do when the partying days are over. Additionally, we discussed how all three band members currently live in different states, their show this fall at Cobra Lounge, future plans and more.
We’re excited to announce that The Arrivals will be playing two shows this December, one in Minneapolis and another in Chicago. Since 2013, they’ve only performed twice, (in San Diego at Awesome Fest in 2016 and last winter at Ian’s Party). In 2010, they released their latest full-length and fourth overall, Volatile Molotov. The album is unmistakably the band’s most complete effort, combining various genres and really evolving punk in a way that few bands have. And it sounds just as relevant and urgent today as it did when it was released. Expect their sets to feature many songs from this record, along with some old favorites and perhaps some surprises from Exsenator Orange or Marvels of Industry. The first show is scheduled for Friday, December 27th in Minneapolis at Mortimer’s. The second will take place on Saturday, December 28th at Reggies in Chicago. That show starts at 7:00 PM, is 17+ and tickets go on sale this Friday.
The 13th annual Ian’s Party will take place Friday, January 3rd – Sunday, January 5th at both Chop Shop and Subterranean. The first wave lineup was revealed today and includes performances by Meat Wave, The Brokedowns, Vacation, The Bobby Conn Experience, Absolutely Not, Ono, C.H.E.W., No Men, Lung, Paper Mice, Typesetter, Howardian, Joshua Virtue, Malci, and Two Houses. In addition, the following acts will also appear: Blacker Face, Hitter, Masonic Wave, Bruges, Wood Chickens, Lovely Little Girls, Bev Rage and the Drinks, Topomaka, Hawley, Wig, Clickbait, Nonnie Parry, Abertooth Lincoln, and American Draft.
Early Bird weekend passes will go on sale Friday, November 1st at 10:00 AM and are available for $30 each. Purchase them here and be advised they’ll remain at this price until Sunday, November 3rd, but will increase after that. Single day passes will be available soon and more bands will be announced at a later date.
On their previous album, 2017’s After the Party, The Menzingers made significant strides in evolving their sound and advancing their songwriting. With Hello Exile, they’ve raised the bar again, a feat that most bands rarely accomplish. In short, they remain committed to breaking new ground and are remarkably consistent and successful in doing so. The record begins with “America (You’re Freaking Me Out),” which is undeniably one of the strongest songs they’ve ever written. While not overtly political, it really captures what it feels like to be living in America right now and also features a huge yet seemingly unforced chorus. “Strangers Forever” presents a unique, alternating rhythm and lyrics that address a dissolved relationship. The back and forth nature of the tempo mimics the conflicting emotions that often occur in situations such as this. Additionally, the song is a great example of their continued growth with crafting layered and intricate arrangements.
“Portland” is one of the more upbeat songs on the album, with numerous melodic guitar leads present throughout. It’s catchy without being predictable and includes a rousing, shout-along chorus. “Strain Your Memory” examines a relationship at a crossroads and contains some of the record’s most heartfelt lyrics. It’s mature, slightly suggestive of late ‘70s Tom Petty and seems much shorter than its actual duration of four minutes. Without question, it’s one of the top songs on Hello Exile. Another noteworthy track is “Strawberry Mansion,” a somewhat throwback to their earlier sound that embraces a subtle Clash influence.
The album is brought to a close with “Farewell Youth,” a somber entry that details the passing of a close friend. In many ways, it’s the perfect album closer as it represents a letting go of the past while simultaneously looking to the future. This same feeling is reflected in the evolution that The Menzingers continually display on Hello Exile. The end result is not only their most adult record to date, but also one of their most comprehensive.
Originally a printed zine from 1998 – 2004, our goal is to provide coverage of Chicago’s expansive independent music community, and to occasionally highlight some of our past work. National and international bands will be featured as well, but above all, we hope to create lasting content for music fans everywhere.
