Tag Archives: Album

Album Review: The Flatliners – Dead Language

The Flatliners - Dead LanguageDead Language, as expected, has blown me away and turned me into an even bigger Flatliners fan.

I am not even sure I need to write more than the above sentence when talking about The Flatliners most recent release on Fat Wreck Chords.  It has been three years since the punk rock band have put out new material and the wait was well worth it.

After making music and hitting the road for most of their 10+ year career, Dead Language really showcases the band in a mature, collective way without missing a beat.  Having been on the Fat roster for a good part of their existence (this is their 3rd release on Fat), many music lovers are well aware of  them and cherish everything they do.

Opening with “Resuscitation Of The Year”, the album started off strong with the band taking no time to get down to business.  With heavy drumming, appropriate gang vocals, and fun guitar playing (that at times reminded me of 90s Fat Wreck songs), I couldn’t help but think that this really was one of the best tracks on the album.

Although carrying a slightly slower tempo, “Birds Of England” was just a solid track to listen to.  I really dug the lyrics that hinted about the band’s extensive touring during their  career.  This is one of those songs I feel would be fun to see the band play live.  “Hounds” was another song that I feel the band would really have fun playing live with all the sporadic shouting and crazy guitar playing.

“Drown In Blood” continued with Chris Cresswell just giving it his all vocally.  I was seriously impressed listening to him clear his throat throughout.  Just wait till the gang vocals pop in.  This song was one of my favorites on the album.

“Sew My Mouth Shut” was the track that really had me thinking to myself how much this band has grown together.  Everything just sounded so right on this track and I just loved it when Cresswell crooned “sew my mouth shut so I can’t say a word, just gets me in trouble, trouble I’m not worth.”

The one song on here that I even remotely scratched my head at was “Quitters” and honestly I think it is because it was just a lot to take in.  At just over 2 minutes, I think song could have been stretched out in some parts.  Overall, still a good jam, but there were a couple of drumming moments that seemed overly compressed.

“Brilliant Resilience” closed down the album with as much fury as the opener did.  Once again the gang vocals were fun to listen to.  Non-stop drumming, fun guitar playing, and of course Cresswell doing what he does best.

I will say that Dead Language is no Calvicade, but it is damn close and who knows, maybe after I listen to it about 15 more times, I’ll change my opinion.  Still, I’m pretty sure The Flatliners were not looking to repeat Calvicade, but rather continue forward with it.  For a band that started more of a ska band and then changed their sound because they wanted to, I would have to say they are matured and exactly where they want to be.  Dead Language really proves that.

Check out this video for “Drown In Blood”:

 

 

Gameface Announces First New Music in a Decade!!!

Gameface

Holy crap.  Gameface has reunited.

It’s true.  Jeff Caudill himself sent me an email (and many others) stating the facts. Gameface is a band again and they have plans on releasing new material in 2014.

Signing to Equal Vision Records, the band is releasing a 7” featuring two new recordings – “Come On Down” and “The Only Chance We Get” – on November 5.

“Come On Down” is a brand new track, while the latter is a new recording of a previously released song from Gameface’s 1995 release, Three To Get Ready. The revamped version also now includes guest back-up vocals from Ingo Knollmann (Donots) and Mike McTernan (Damnation A.D.).

The reunited four-piece currently is working on their sixth full-length album, which is should be released by early 2014. Check out the following video that takes a personal look at Gameface’s recent decision to reunite as well as make their first new album together in over a decade:

Jeff Caudill had this to say about the band reuniting and recording new music:
 
“We’re beyond excited about the new material and a new chapter in our history.  We’re so fortunate and grateful to Equal Vision for sharing our vision and giving us this rare opportunity for a new beginning.”
 
Taken from the Equal Vision press release:
 
The Southern California-based outfit, now featuring Caudill along with Todd D. Trout (guitar), Guy Julian (bass) and Steve Sanderson (drums), originally formed in the summer of 1990 and has since released five full-length albums, each carrying the band’s dynamic, distinctive sound that has gone on to influence countless bands over the years.
 

Gameface’s debut LP, Good (1993), showcased unabashed pop punk at its purest, while Three to Get Ready’s (1995) offered redemptive lyrics and a nostalgic tone that drew fans into Gameface’s emotional triumph over tragedy following the untimely death of their drummer Bob Binckley in 1994. With Every Last Time (1999), and the addition of drummer Steve Sanderson, Gameface hit their songwriting and touring stride. During the recording of Always On (2000) rifts between members deepened and original bassist Paul Martin eventually left the band before the album was released. Guy Julian joined on bass for their final album, Four To Go (2003), before the band members decided to each go their own separate ways following its release. In 2012, the group reunited for a string of shows that eventually served as the catalyst to forge ahead towards something more permanent. It felt right again as Caudill penned their new single, “Come On Down”, sealing the deal to embark on this next phase of Gameface.

Pre-orders for Gameface’s new 7” will be available in the coming weeks, along with additional information on the band’s upcoming full-length album.  The band even announced today on Facebook that they are adding a re-recording of “Freezerburn” to the new album.  That song previously was only availble on a live recording.

http://facebook.com/gamefacerock
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Signals Midwest Announce Light On The Lake

Signals Midwest - Light on the LakeCleveland heartthrobs and beer snobs Signals Midwest recently announced they were dropping an all new album titled Light On The Lake in October.

This is the band’s second release on Tiny Engines and will be up for pre-order very soon.

I was blown away by their 2011 release Latitudes & Longitudes, and will admit that I can not wait to hear what they have to offer this round.

As if releasing the album is not enough, the band will be playing Pre-Fest and Fest at the end of October.

Signals Midwest

Check out this trailer made by Ben Hendricks of Annabel:

 

 

Interview: Chris McCaughan of Sundowner / The Lawrence Arms

A couple of months back, I remember getting an email from the good folk at Fat Wreck Chords stating that Chris McCaughan of The Lawrence Arms would be delivering another installment of his solo material, also known as Sundowner.

I was beyond stoked to learn of this as I was a big fan of McCaughan’s last Sundowner release and maybe dig The Lawrence Arms a whole lot.  Hopefully there are a few of you out there who can agree with me on both statements.

Anyways, Neon Fiction is just an amazing release and I can not stop listening to it.  I have not had time to do a proper review of the album on there here website, but I was asked if I wanted to chat with McCaughan about it.  Of course I said yes to that.

Chris and I were able to catch up on the good ol’ Internets and he was kind enough to talk about his new release.  Check it out:

Sundowner

BHP: So the last time we chatted about 3 years ago,  LeBron had kicked Cleveland in the nuts and you just released We Chase The Waves. I guess what I am trying to ask is, what the heck have you been up to?

CM: I remember. Nice to chat again. Not sure I can condense the last three years of my life into a brief synopsis of what have I been up to? So, let’s just say I’ve been livin’, man. L-I-V-I-N.

I heard you no longer live in Chicago these days.  Is that true?  What prompted the big move to the West Coast?

True. I was born and raised in Chicago. So I take that place with me where ever I go. And, anyone who knows me knows how much I identify with and love that city. But I was ready for something in my life to change and felt like a new surround would be good for me. Also, my girlfriend is from the West Coast and, after having lived in Chicago for several years, she was ready to be closer to home and out of the harsh winter. So that was part of it. But, having toured and traveled extensively in my life I wanted to know what it was like to actually live in a new place. It’s an entirely different experience. I still spend a lot of time in Chicago though, so I feel a bit like a habitant of multiple places.

You just dropped an all-new release on Fat Wreck Chords titled Neon Fiction. Care to tell me about it?

Neon Fiction is the culmination of songs I was writing somewhere in the span of Fall ‘11 into the Spring of ‘12. It’s hard to remember the exact time frame. I didn’t write this with specific intentions or deadlines or ideas about how it would all come together. It may sound ridiculous, but I really was just writing the songs I write. I’ve gotten questions over the years like how do you know when it’s a Sundowner song or a TLA song? And the truth is I just don’t think about it in that way. Or, perhaps, a bit more accurately, I just know innately. This is, simply, me and these are the songs I write. Some people ask if this is more than a side-project now and, again, I don’t think in those terms. This is part of what I do and my goals are to try to write great songs and make cool records. That’s the part I can control and that’s what Neon Fiction is to me.

I guess, in some ways, I feel like I’ve had this record in me for long time, but it took certain conditions in my life to write it. Part of that was letting go. There was definitely a time when I felt like no one would ever hear any of this and that didn’t bother me at all. I was completely at peace with that.

But, when I was finally ready, I fronted the production so we wouldn’t have to make hard decisions on the front end. We could focus on the songs and the work. We tracked it at Atlas Studio in Chicago. As usual, I teamed up with Neil Hennessy on the record. The goal was to try to make an awesome album, with cool sounds. We consciously tried to shift the perspective from the previous Sundowner albums. I felt like that was essential. We wanted layers and different kind of landscapes for the songs, and for each song. I wanted to challenge myself but work within my range. I wasn’t trying to reinvent anything.

I feel very fortunate to be working with Fat Wreck. And it meant a lot to me that everyone over there liked the songs and the album. I’m so grateful for so many people in my life who have made this possible and who have continued to be supportive over so many years. So, it’s been an amazing experience and I’m so stoked it’s out.

Does the title of the album have any hidden meaning behind it? Sounds like a typical Vegas adventure to me.

For me it just captures the nature and vibe of the collection. That was the primary goal of the title. Admittedly, I struggled naming the record. I asked my friend Ben Pier, who is a photographer living in NYC, to shoot a bunch of stuff for the album. Once we chose the cover photo it started to all make more sense to me. It’s a city record. The songs are heavily influenced by my sensory perception and how I specifically interact with environments. So lights and sounds are heavy contributors to the overall landscape, the lyrics and sonic qualities. And, honestly, I just like the way it sounds. That’s a hugely important factor to me in a title. Also, Neon Fiction has some origins for me. It’s a bit of a tip of the hat to Chicago writer, Nelson Algren, who wrote a book called Neon Wilderness. And it’s a bit of a play on Non Fiction, as the record is full of half-truths.

SundownerSo when did you start writing Neon Fiction? We you looking to write another Sundowner album, or did you just find yourself with a bunch of songs that needed a home?

I didn’t sit down to write a record. But I wouldn’t say I just found myself with a bunch of songs either. I was writing with no real goal in mind. Just writing to write. I wasn’t thinking about how or where or why. I wasn’t focused on some kind of end game. I guess somewhere in the process, when the songs began to accumulate, it occurred to me that I felt strongly about the material. At that point things felt more magnetic. I was being pulled to some kind of end and then I felt compelled to figure all the other things out so that I could make it. I’ve thought about this in a lot of different ways. In terms of the song writing I would say it this way: It’s like I was a kid out in a field in the evening with a mason jar and a lid trying to catch fireflies. Got one. Here’s another. And at some point I’d caught so many I was excited enough to go show someone.

I swore that you stated before that you were not really going to go the solo acoustic music route in the past, but here you are. Has the popularity of punk rockers following this trend changed your mind?

I’m pretty sure I never said that. Certainly not in that way. I’ve been playing as a solo acoustic artist since 2005 or 2006, when I first began writing acoustic stuff and the first Sundowner record started to come together. So, no, the popularity of the genre has nothing to do with my choices or decisions as an artist. I’m just trying to write and live a life that’s authentic and genuine to me. That’s it, man.

Can we expect you to be onboard the next Revival Tour then?

I have a great amount of respect for Chuck Ragan. He’s just an amazing guy. I first met Chuck years ago when TLA toured with Hot Water Music and I’ve had the good fortune of performing on Revival tour and doing shows with him here and there over the years. It’s always an incredible collection of talented and passionate artists he puts together for Revival and I always feel honored when he reaches out to me in any way.

I thought “Concrete Shoes” was exceptional. What made your feet so heavy that you had to write a song about it?

We live in a sticky world, man. And, I guess, at times my feet felt pretty heavy against the pavement. Just trying to get off the ground.

Was there a certain track you favored over the rest on Neon Fiction?

I’m proud of the record as a collection of songs. They belong together and I think they make each other better. And that was the goal. If I absolutely had to pick one maybe it would be Poet of Trash? Maybe My Beautiful Ruins? Grey on Grey? I don’t know, man. I have an array of feelings and connections to them all.

Overall, was there a theme surrounding all of the songs on this album?

There are a lot of themes and sub-themes. But generally speaking, it’s a record about self-acceptance and self-actualization. It’s about letting go of the things that you can’t control and being honest with who you are, embracing your nature.

Seems like I am not the only one who is digging Neon Fiction. How are you taking the feedback so far from everyone who pre-ordered the release?

It feels great to have such a positive response to the songs. And, of course, I’m happy it seems to have had some impact on listeners already. But I try not to worry too much about all of that or read into it too much. I just continue to be thankful that I’m in a position to share the work, keep believing in the craft and the process.

Who all helped you this round on Neon Fiction? How much did Neil Hennessy pitch in again?

Neil played bass and drums. I did all the guitars and vocals. That’s it. Neil is an incredibly talented musician and has been an essential part of making the Sundowner records. This record was no different. His contribution to Neon Fiction was enormous. He helped catalyze and actualize so much of what was in my head. I feel lucky to have a partnership with him that has created conditions to work in this way. Justin Yates, who works with Matt Allison at Atlas studio where we made the record, engineered and helped produce which allowed Neil and myself to really focus in on performance. Neil is a true craftsman, one of the best dudes, and we’ve had a, sort of, musical kinship for a long time. He has a sharp and sophisticated ear and what he brings to the studio, or to any project, is invaluable.

I know you hardly toured with the last Sundowner release, but that is all changing this time. How does it feel to be hitting the road without your full-time band? Any plans on expanding that tour?

Over the years I’ve played solo quite a bit, so I don’t anticipate it’ll feel too strange. This fall I’ll be doing some small runs of shows here and there and we’ll see what happens. Not getting too far ahead right now. I try to do this in the way that works best for me and not get too concerned by others expectations.

Just curious, but were you asked to cover a Tony Sly song for his upcoming tribute release? I didn’t see you on the track listing and was curious if that was due to your own choice.

Tony Sly was a great guy and an amazing songwriter. TLA and No Use toured together a bunch and I was fortunate enough to get to know him and spend some time around him. He’s deeply missed. If it’d worked out that I could’ve contributed a song that would have been awesome and an honor. But it didn’t. Don’t read too much into it.

Rumor has it that the Lawrence Arms have new material recorded. When can we expect that to drop?

There’s a new TLA record. It exists. We’re excited. That’s about all I can tell you.

So, what’s next for Sundowner?

It’s September. Neon Fiction is out. Shows ahead. I’m stoked and thankful. Just trying to live in the present moment and do the best version of me I can.


Pick up the new Sundowner on Fat Wreck Chords.

Sundowner is playing Now That’s Class in Cleveland on Sept 26th. with Meridian and The House Of Wills.  Tickets are only $10.  Do not miss out on this show!!!

Sundowner @ Now That's Class

Album Review: Streaming Satellites – Slipstream

Sometimes I find out about bands the hard way and I miss out on them.  Other times, as in this case, I am given a proper heads up by someone who believes in the band and knows the world needs to hear them.  It’s my turn now to follow their lead and tell you all about a band called Streaming Satellites.

Already a big deal overseas, Austria’s Streaming Satellites are about to drop their sophomore release on Monday titled Slipstream, and all I can say about it is I have a feeling it will be grabbing some attention.  I really was caught off-guard with this release and was thinking after hearing they were an electronic-indie band that they would have sounded a lot different than what I was treated to.

Synth-heavy, indie rock with serious soul singing was my initial reaction about what Streaming Satellites  were all about.  Then I listened to them some more and started thinking about Pink Floyd, especially the female singing in many of their songs (someone please tell me you know what I am talking about).  Then I picked up some Dan Auerbach howls  and riffs hiding behind groovy 70s music.

I will admit, it took a moment for me to get into them and at first I was expecting more 90s Daft Punk with the opening track, but things soon shifted into an entirely different direction.  I loved “Timezone” with plenty of funk groove synch music layered under catchy indie rock jams. “No Sleep For The Damned” was almost too fuzzy, but it sounded just right.  “Shadows Collide” was astray from the others, but equally as entertaining.

Towards the end of the album, things get even better with a horn section playing and full out jam sessions.  Seriously, what is not to like about this?

Slipstream truly is full of a unique blend of music from today and yesteryear aimed at anyone who just likes to get down.  Max Borchardt really has a unique signing style that carries well throughout the release.  At times his voice reminds me of a calmer J. Roddy Walston as well as a younger Robert Plant.

I usually steer clear when I hear the words “Electronic” and “Indie” put together in a sentence, but this is different, and this is good.  Try not to let Slipstream sneak past you.  If you are looking for something a little different to check out, but full of music and styles similar to bands you your parents playing on the good ol’ turntable, you really owe it to yourself to check out Streaming Satellites.  They really are a unique band.