If you know me at a personal level, you know that this year was a wild one and full of challenges and accomplishments. Needless to say, I have made the best of it and can tell you I have managed to take time for myself to enjoy it.
I went to more shows this year than ever and rekindled my love for live music. I reconnected with friends and even started a side gig making lamps with some of my fav people.
Even with all that has been going on, I still have listened to music on a daily basis. I may not have done as much as I had wanted to with the site here, but I am still going to take a moment to share with you a random ass list of albums that dropped in 2022 that caught my attention.
There are plenty more I am sure I overlooked. I am sure I will add to it here and there, but the following were amazing according to me:
BHP BEST OF 2022 LIST
STS x RJD2 – Escape from Sweet Auburn
This is one of those albums that just blew me away from the moment I checked it out. I am a huge RJD2 fan, but I had no idea of the talent that is STS. These two joined forces for a reason and the outcome is amazing.
SACK – Ripper!
This band rips so hard that I caught Covid at their show when they played Cleveland. No joke. Certainly, one of my fav punk albums of the year.
Cave In – Heavy Pendulum
Per Spotify, this was my most listened to album of this year. There is a reason for that. I absolutely love what this band has turned into. This album exceeded all expectations as a fan.
Curtail – When the Sway Sets
This album is like dipping back to my teenage years. So much 90s flair with a lo-fi sound that easily sucked me in. Added bonus, this band is comprised of some amazing humans.
Pool Kids – Pool Kids
This right here is the #1 album to not listen to when you are having a relationship change. It brought me to almost tears the moment I heard it, but honestly, I needed it.
Dream Widow – Dream Widow
This album was made specifically for the cult slasher flick Studio 666 starring everyone’s fav rock band the Foo Fighters. The movie was amazing, but this album is just insane.
Frank Turner – FTHC
This album was a little harder then the last few and carried some pent up angst that I fed on during tougher times this year. “Haven’t Been Doing So Well” seemingly was my theme song this year at times.
No Trigger – Dr. Album
Easily one of the best punk rock albums to drop this year. Do not sleep on this one.
Signals Midwest – Dent
I adore this band and everything they stand for. It was no surprise how much I got into this release. I will sound like dad here, but it is what it is: I am so proud of how this band has grown as musicians. This album is a total testament to that.
Cigar – The Visitor
It’s not every day a band busts out an album 22 years after their debut. With a slight lineup change, the band sounded as amazing as ever.
Soul Glo – Diaspora Problems
This band has certainly had some challenges over the years but haven’t let anything stop them. In fact, I think they just got stronger because of it.
The Flatliners – New Ruin
Cresswell and crew simply can do no wrong. Full of anger and angst, this release at times pointed back to the younger years of the band with heavier moments.
Gospel – The Loser
17 years after their debut, Gospel dropped this album. I cannot tell you how many times I have listened to this prog heavy masterpiece.
City of Caterpillar – Mystic Sisters
I am not complaining at all how many bands from years back dropped albums after an extensive period of time, but City of Caterpillar dropped a follow-up 20 years later and needless to say, it rules a lot.
The Smile – A Light for Attracting Attention
Comprised of Radiohead’s Thom Yorke and Jonny Greenwood and as well as Sons of Kemet’s Tom Skinner, this album really reached back to a younger Radiohead sound, something I absolutely adore.
Viagra Boys – Cave World
Viagra Boys are like Ween and Electric Six on a cocaine bender. This band is a new level of fun and this album helps prove that.
Vein.fm – This World Is Going to Ruin You
This is a post-hardcore / nu-metal release that may be my favorite thing this band has done to date.
EDIT (6-JAN-2023) Shocking….I totally forgot these few too:
A Wilhelm Scream – Lose Your Delusion
Easily the catchiest punk album of 2023. I listened to this probably too much. That opening track alone…
The Interrupters – In The Wild
Solid release by a band that certainly deserves all of the attention. I almost wish Rancid would have just recorded this for themselves. Not dismissing the band at all, but def has that Hellcat love.
Cory Branan – When I Go I Ghost
Cory is easily one of the best song writers out there. This album confirms that statement.
Arlo McKinley – This Mess We’re In
Sad and emotional songs sometimes are the best. Arlo has really taken a few steps forward with this amazing release.
Birds In Row – Gris Klein
I was sucked into this album instantly. Powerful and moving I think is the best way to describe it.
Big ups to the bands, the labels, and the readers of this blog. I feel like I say it all of the time, but if it wasn’t for y’all, this blog would not be here.
Special thanks to my friends and family who have gone above and beyond in a time of need. You have no idea how much I value you all. Detail not needed, but I offer my eternal gratitude for helping me get though the low times and keeping me going.
Here’s looking at 2023. I can sit here and say this and that about the blog, but we will see what happens with it. Happy Holidays to you and yours.
Bands like Big Nothing are hard to come by. I first learned of them back in 2019 and have been a fan since. Their style then was something that was just so enticing to my ears. Said release became one of my favorites and to this day is still in regular rotation.
Featuring Liz Parsons (bass/vocals), Matt Quinn (guitar/vocals), Pat Graham (guitar/vocals), and Chris Jordan (drums), Big Nothing has this distinctive charisma all in thanks to how they share vocal duties that coincides with the music they create. Their overall style, which clearly shows strong appreciation for various genres of music, results in an unique sound that teeters between indie punk and alt-country without missing a beat.
“Always On My Mind” opened up this 10-track album with an impactful yet chill song about inhibitions around courtship. I loved their regressed sound that the band managed to produce outside of traditional studio sessions all in thanks to stupid Covid.
I loved everything about “A Lot of Finding Out.” With so many proper Westerberg similarities, this track sucked me in immediately. It was personal and wholesome and catered directly to the listener.
“Still Sorta Healing,” all in thanks to Parsons, reminded me of early Juliana Hatfield in the best way. This track brought me back to the days when I shook off the grunge and started expanding on my musical tastes
The damper “Curiosity” was an alt-country stumble that truly hit at somber feelings. I’m almost afraid to know what this one was about. Truly a personal battle with the loss of great impact.
I feel the band came together the most in “Dog Hours.” This track was just great in every way. Without being overly complex, it carried a good sound throughout.
“Make Believe” had Parsons taking over lead vocals once again changing the dynamic of the album without distraction. I honestly look forward to this shift as it showcases the true talent of this band.
“Accents” just ruled. The hook on this track was so memorable it had me singing along at first listen. This track is going to get this band a lot of attention I feel. Seriously, scroll down and listen to this one.
In true alt-country form, “What I Wanna Say” closed down the album with a good story backed by harmony and twang. I loved the laughing and someone saying “done” at the end, but it just left me wanting more.
Dog Hours continued where Chris left off for listeners like myself who just simply wanted more jams from their debut. There was a clear in change in tempo and style for the benefit of the band. With a more intimate, pure sound, I feel more connected to this band. As much as I adore their debut, Dog Years is equally as impressive.
Call me corny, but they really should have called themselves Big Everything. Dog Hours without a doubt is one of my fav releases of the year.
Growing up in Canton, Ohio in the pre-internet 1990’s wasn’t exactly a bustling hub of counter-culture for a young kid. Sure, I had cool parents and an older brother who passed down the foundations of my musical interests- The Ramones, The Replacements, Dead Milkmen, and so on- but I had yet to find “my thing”.
Then, I found Beavis and Butthead. Suddenly the world opened up in front of me. Archers of Loaf, Seaweed, and Sonic Youth all hit me like a ton of bricks. All of these bands were rooted in the world that I knew, but they were decidedly original and a bit more unpredictable. I was hooked. Superchunk’s song and video for Package Thief was what rattled me, though. It was my lightbulb moment for what I wanted out of music- frantic energy, bright fuzzy chords, catchy melodies, and weird lyrics. I knew instantly that they were my band.
They became a frequent presence on my annual Christmas lists, but I don’t think their records were the easiest to find where I lived. I wouldn’t really find “my band” until 2004 or so, when I walked into what was then known as The Record Exchange in Canton and bought almost their entire discography in one go- minus Here’s Where the Strings Come In and Indoor Living.
It wasn’t an entirely joyous outing, though- even though I loved every album I picked up. On The Mouth was everything I hoped for after being hooked by Package Thief. Foolish was a classic that laid a blueprint that younger bands had followed for the last decade. Come Pick Me Up was off-the-wall and intoxicating. And then there was Here’s to Shutting Up– slower, somber, and ominously titled. Based on its name, I assumed the worst about the band’s fate- and their lack of internet presence in that era all but confirmed it for me. Scattershot shows would pop up in major markets once or twice a year, and front man Mac McCaughan would pop in on the now-defunct Superchunk/Merge message boards from time to time but it seemed like the title of their 2001 full-length said it all. I missed the window of my favorite band’s full-time existence.
Fast-forward just a few years after that and the band would thankfully reemerge, comfortably settled into their classic sound, more frequently releasing music and heading back out for brief clusters of shows. But the interim time would also reveal that even though the title of the record was unintentional, or subconscious at worst, the writing was on the wall for Superchunk as they were in 2001. It was a tough time for the band in 2001- the indie rock scene favored up-and-coming bands rather than those who had been at it for a decade-plus. Superchunk was caught in the middle of a fanbase that didn’t particularly want them to change their formula and critics who would drag them for staying the same. On top of that- thanks to inner turmoil and exhaustive tours with a steep decline in attendance post-9/11, the band did ultimately shut up for nine years or so. (To hear it from the band in their own words, check out the book Our Noise: The Story of Merge Records, and the Peyton Reed-directed documentary DVD Crowding Up Your Visual Field)
Twenty years later, Here’s to Shutting Up has been rereleased along with a CD of acoustic demos from the writing sessions. It’s a record that went largely unheard at the time of it’s release due to unavoidable bad timing- the album came out on September 18th, 2001- along with a refrain in the pedal-steel guitar-led acoustic ballad Phone Sex that includes the lyrics “Plane crash footage on TV- I know that could be me.” Unfortunate timing and coincidences aside, it’s a beautiful, haunting record that finds Superchunk engaging in some of their most ambitous songwriting- from the eerie, meandering What Do You Look Forward To, to the more-upbeat entries such as Art Class (Song for Yayoi Kusama) and Rainy Streets– the album is more than worth a look back or an introduction if you missed it the first time around.
Last week, I caught up with drummer Jon Wurster via email to see how he feels looking back at the album:
JU: Here’s to Shutting Up caps off a trio of Superchunk’s most experimental records. Do you recall any discussions the band was having leading up to the writing of this record? Any interesting stories worth sharing from the writing/demo sessions at your house?
JW: This whole conversation is tough because this is the Superchunk album I have the most difficult relationship with. I honestly can’t recall the names of most of the songs on the album and we only play one of them live at this point (“Art Class”). We worked very diligently for months on “HTSU” in Jim’s garage. I still have the snare drum head I used for the rehearsals/writing and it’s got about 30 funny working titles for the songs, like, “There’s Something About Marvin” and “New Asics” (I’d just bought a pair) scrawled on it. Just speaking for myself, I didn’t really love the direction we were going for this record.
We were really good at the punky, catchy, slightly weird music we’d been doing for over ten years and it was only natural that we branch out and try new things. I just didn’t feel like we were particularly suited for the Yo La Tengo-inspired music we were coming up with for HTSU. I WILL say that it’s one of our best-sounding records. I’d finally gotten a snare drum I liked (a Ludwig Black Beauty) and used it on that and just about everything I’ve played on since. So, sonically, I think it’s really good.
JU: Was there ever any talk or possibility of working with Jim O’Rourke again after Come Pick Me Up? I’ve always been a big fan of the string and horn arrangements he brought to that record. I could be wrong, but I feel like the production on that record isn’t given its due.
JW: CPMU is difficult too. I thought the songs were really good but we lost it in the mix. The drums are too buried for my tastes on “Indoor Living” and CPMU in particular. Jim was so much fun to work with, but I don’t think he was really a drum guy. We had to overdub cymbals on a few songs because they weren’t really mic’d for some of the basic tracks. He wrote the horn arrangements and did a fantastic job all around. The problem was he was running on fumes and going home each night to finish work on another record he was producing. He was really burning the candle at both ends, not with substances, just work and lack of sleep. But Jim was really great to work with.
JU: It’s pretty well documented that 2000-2002 was a stressful time for the band- and many touring bands in the wake of 9/11. Did any of those circumstances alter your opinion of the album at the time?
JW: That was such a difficult time. I’m really painting an uplifting picture of the band in the late-’90s and early 2000s, aren’t I? The record was released on September 18th and we immediately hit the road, going to Japan, Europe and then doing a full US tour. Attendances were down, I didn’t feel like the new songs were connecting with people, I didn’t really enjoy playing them, and it felt like other bands were passing us by. Like, we’d hit the glass ceiling. I just wasn’t excited about Superchunk anymore. The final show of the HTSU tour was at the Black Cat in D.C. and I remember thinking that was the end of the line for me.
JU: How do you feel looking back on it now?
JW: I honestly never think about HTSU. That said, I was in a coffee shop in NYC about four years after it came out and one of the songs from it came on the in-house playlist. I knew it was us but I didn’t recognize the song. I thought, “wow, this sounds really good, surprisingly tight for us.” Then I realized it was the last song we recorded for the album and the only one where we played to a click track: “Out On The Wing.”
JU: Brian Paulson co-produced Here’s to Shutting Up with the band. This is the first (maybe only, as far as I can tell?) time you used the same producer for a full-length record since 1994’s Foolish. What went into that decision?
JW: I honestly don’t recall. We were still very friendly with Brian and we’d see him all the time because he also lived in Chapel Hill. I think it just felt right.
JU: Art Class has remained a steady presence in live sets ever since the album’s release. Revisiting it now, and barring any logistical/additional personnel challenges, are there any songs from HTSU you think would be fun to bring back into live rotation?
JW: One song we recorded for HTSU that I really liked, but didn’t make it on the album is “Becoming a Speck.” I think that song would have given the album a little more of what we were really good at, but someone must’ve decided it didn’t fit. It’s on the “Cup of Sand” comp. That would be a fun one to play, as would “Rainy Streets.” I’m now looking at the track listing and remembering that we ended the shows with “What Do You Look Forward To” and “Drool Collection.” Let’s just say I didn’t look forward to playing those songs every night.
JU: Here’s to Shutting Up holds the distinction of having some of Superchunk’s longest songs- namely with What Do You Look Forward To? coming in at 7:42. Was it strange to play outside of (generally speaking) standard pop-rock parameters Superchunk had typically held to or did it feel like a natural progression for everyone?
JW: To me it felt a little false. Maybe not false, because we WANTED to play this new music well, but to my ears it sounds like us trying to be another band, specifically Yo La Tengo. I don’t want to hear a seven-minute song by anyone, so, as I said above, that particular tune was not a favorite to play.
JU: Since the band got back into semi-regular output in the 2010’s, the sound has returned to what some would say is Superchunk’s more traditional hyper-energetic output (What a Time to Be Alive is arguably the band’s hardest-hitting record at times), give or take a few slower numbers. Are there ever any band discussions about revisiting any of the more experimental, long-form ideas from this era, or do you think those concepts are mostly content to live on in the bands’ various other projects?
JW: I think we got the “writing as a band” thing out of our system. Sometimes that yields some great results, but often you end up with music that’s a little unfocused. The first four or five albums were pretty much written by Mac. We’d all throw our two cents in but he pretty much wrote the songs. He was incredibly generous to make the publishing a four-way split. “Indoor Living,” “Come Pick Me Up” and “HTSU” were all written, musically, by committee and Mac would go off and write the lyrics. There’s a lot of good stuff on those records, for sure, but since we regrouped, it’s gone back to Mac writing and doing rough demos of the songs and then presenting them to us. I really like it this way because the songs just sound more focused and concise. He’s written so many great songs for these last few albums.
JU I recently saw an interview with Mac where he discussed the band working on an album during quarantine, written and recorded remotely. Are you able to give any details on the process behind that or any upcoming plans?
JW: Not yet 😉
JU: Finally- followers of your Instagram account are treated to regular doses of Rock ‘n Roll Weirdness. Outside of the band supposedly surviving largely off of Long John Silver’s, do you have any tales of Rock ‘n Roll Weirdness to share as relates to the writing/recording/release of Here’s to Shutting Up?
JW: The only thing that comes to mind is that there was nowhere to sit in the studio! I don’t know why that was. There WAS a row of very uncomfortable wooden seats from a classroom or something, but nobody wanted to sit on them. Maybe we should’ve called it “Here’s to Standing Up.”
If there’s anything to say about 2020, it is this: I miss live shows. I miss seeing local bands play small bars and I miss cramming into over-priced corporately owned venues to see sold out shows.
I know I am not the only one who says this to themselves daily. This year has not the the greatest by any means given the current situation.
I’ve tried hard to do things on this blog when I had some free time and want to once again thank everyone who has offered up something for review or checked out any of the posts I tossed together usually afterhours while everyone in my household was fast asleep.
I cannot end this year without pushing out a Best Of List. I know I am cutting it close this time. I feel this was the year I really tried to listen to more artists I never heard of before and honestly, I was impressed with tons of releases. I started with 10 and said screw that as all these bands that dropped impressive releases need to be shared. As usual, I will probably add to it after this goes live.
Thanks for keeping me going y’all. I do appreciate it.
BEST OF 2020
(in no particular order)
The Avalanches – We Will Always Love You
I have loved this band since they started 20 years back. They have a way with mixing samples appropriately. I especially grew fond of this one because it was more of a journey than a collaboration of sound.
Get Dead – Dancing with the Curse
This release is raw, unhinged, and perfect in every way possible. I can only imagine what these dudes sound like on stage… This was probably the most listened to album of the year by yours truly. I cannot get enough of it.
Shuffle and Bang – Island Pop
Island Pop was the surprise drop of 2020 that I needed to distract me from all the bad. This is a soulful delight that I’ve gotten lost in many times and literally found myself in a better mood because of it. If there was one band I would love to see play live currently, Shuffle and Bang are my top choice.
Run The Jewels – RTJ4
This duo does no bad. I am not shocked that this was one of my fav releases this year. They always entertain. I am bummed I missed seeing them play with Rage this past summer and only can hope the rescheduled date stands.
Broadway Calls – Sad in the City
This pop-punk release is going to be something I probably listen to for the rest of my life. No joke, this album started off as strong as it ended and became an instant favorite of mine.
The Lawrence Arms – Skeleton Coast
This album is damn near perfect and I know I am not the only who who thinks this. Why go on about these guys when everyone knows how much they rule.
HUM – Inlet
I have waited over 20 years for Hum to release new material and this did not disappoint one bit. After each listen I find a stronger appreciation for what they have created.
Maxwell Stern – Impossible Sum
An outstanding effort by someone who I’m lucky to call a pal. I have watched him mature over the past 10 years and expect things to get even better as he continues onward. Now hurry up and drop Signals Midwest LP4 already!
Be Well – The Weight and the Cost
Catchy as hell, melodic hardcore fun. With the roster in this lineup, it was not shocking how killer the entire album was and how things built up all the way to the end. This was one that made the blood flow as well as the feelings emerge.
SkyTigers – Eulorgy
A release by some Boston punks who’ve been at it for 10 years now. This debut clearly needed to drop during this shit year. It’s powerful, angry, and just insane. The opening track alone proves that.
Slug Fest – Animal
Cleveland surf punk rock may not be something you knew existed, but I assure you it rules. This album is full of jams and guarantees a good time. This is one band I can not wait to see in-person.
The House of Wills – “true crime’
This lo-fi release by Cleveland’s JV is everything to me. I fell in love with it upon first listen and love how they put their heart and soul into it. This is the one release that deserves all the attention. This falls somewhere between Fred Thomas and Daniel Johnston if I am being totally honest. Was JV going for that? Not sure, but it’s more real than most stuff that dropped this year.
Stolen Wheelchairs – The America
These guys are about as punk as they get. If their band name is shocking to you, wait until you listen to this straight up punk rock disaster. I loved every moment of it.
Bob Mould – Blue Hearts
This may very well be the best thing Mould has done in quite some time. I find comfort through Mould as he doesn’t back down as the years progress. Do not sit on this one.
Brain Cave – Stuck in the Mud
Brain Cave’s debut rules on so many levels. I have spoken highly about this release to many folk since it dropped because it’s that damn good. This was my go to when I just could not decide with to listen to at any given moment.
I Am The Avalanche – Dive
I’ve been a fan of these guys for a while now, but this album is probably my favorite to date. Punk rock at its finest.
Somerset Thrower – Paint My Memory
This release brought back the best 90s punk rock vibes. I honestly never got into these guys prior, but clearly that changed. Excellent throughout.
Spanish Love Songs – Brave Faces Everyone
This band can bum me out so much and I love them for it. Easily one of my fav acts out there and this release certainly showcases why.
The Dead Krazukies – Icarus
I do not expect a ton of folk to know who this act is yet, but I have a feeling they will in time. All I could say to myself the first time I heard them was, “holy shit.” This is power punk rock without over-exaggerating it. You can tell the band loves playing and there wasn’t a single lull in the release. I can not recommend them enough.
Don Yoder – Everything is Nothing
This release came out of nowhere from a guy from another Cleveland band who wanted to make a country album. The result is an incredible, non-gimmicky grouping of songs that, unless you knew who wrote them, you’d think a seasoned alt-country musician wrote them.
Rope – Crimson Youth
Tossing the Tiny God Inc. released cassette cover here as they are the reason I even got into these guys. This is the post-grunge, hardcore album I needed this year. Talk about a brutal release…
Red City Radio – Paradise
This band continues to get better with each release. This one in particular was a solid listen that I’m currently obsessed with.
Anti-Flag – 20/20 Vision
Totally forgot to add this one to the list initially. This political, punk rock stand against the government is as impactful as it is catchy. This band might be getting up there in age, but my god, they have no intention of slowing down or steering away from their cause.
TRVSS – New Distances
Grungy, noisy post-punk rage- rippers are what this release is all about. This Pittsburgh act deserves some serious attention.
Guilty Pleasure of the Year:
Machine Gun Kelly – Tickets to My Downfall
I won’t lie, I played the ever-lasting hell out of this. It is a pop-punk, catchy release and I am probably too old to enjoy it as much as I have. I never was a MGK fan before he collaborated with Travis Barker, but stranger things have happened.
Best Covers Album of the Year:
NOFX & Frank Turner – West Coast vs. Wessex
I can not tell you how stoked I was when I learned of this concept coming to life. Two of my favorite acts covering each other’s tunes in their own style. The finished product was far from some speedy effort. Both parties did an excellent job with their own renditions.
Just check out the video below for proof:
Like I said, I am sure I will be adding a few more here and there. 2020 really was full of good music by great artists. I think I am most impressed with the fact that even though everything had to shut down because of a global pandemic, musicians did everything possible to continue creating.
With that said, artists and bands are still struggling financially because of not being able to tour. I know they are not the only ones, but if you have the means to, support musicians by buying their physical or digital release and skip the popular streaming services. You know damn well they don’t make shit from streaming.
Hell, one up yourself and get some sweet swag while you are at it. If one of the bands I spoke about sounds interesting, check them out, and if you love it, buy it. Anything helps right now.
Thanks for reading and I sincerely hope that I enlightened you to 1 or 2 new bands that you will adore just like I did. Happy New Year y’all!
80s synth-pop smashed with experimental sci-fi indie rock is about the best I can explain The Electric Grandmother these days to anyone who asks.
Taking their duo to a conceptional level higher than their last release, Cancelled that literally surrounded a man losing his mind over an axed sitcom, Relaunch is the most unique release I’ve heard these two drop to date.
Residing in Washington DC, and originally staking claim to fame in Columbus, OH, the high-level 411 on The Electric Grandmother is a husband/wife duo who have taken their love for each other and televised entertainment and put their own twist into it musically. Sitcom Core pretty much was their lovechild, but with time comes maturity and they really are beyond what they once created.
I could sit here and tell you how much Pete and Mary Alice mean to me, but I’ll save that. Instead, I would like to remind them the time I showed up at their wedding reception first if I am not mistaken and they both ran to me, excited to see someone on their level that wasn’t a family member asking over and over when they were going to start a family and talk about their lost cat or bridge mix.
What am I getting at you ask?
I was there for them then, and I still am today.
I write this review not because they asked me to check it out, but as a fan of a band that really has seemingly taken gimmicks to levels that almost carry on hidden meaning.
Case and point, Relaunch, is about Ronald Regan getting kidnapped, but surrounds the crew that came together to find and hopefully bring him back to safety. It’s a silly, serious escapade into another dimension with room for one more to enjoy the trip.
“The Kidnapping of Ronald Reagan” set up the story with Mary Alice’s ever so sweet singing followed up with her main squeeze’s melodica infused singing. Not going to lie, I just sat here and marveled at how great this track sounded while hanging on for the ride.
Classic, crass sounding “Nancy Reagan” followed with plenty of poo and butt jokes including Mr. T’s lap. I’d expect nothing less seeing how much these two shouldn’t always be taken seriously.
“Relaunch” could have been mistaken for Chemical Brothers at the start with the instrumentals. Seriously, this track ruled so much that i had to listen to it a second time once it ended. Clearly this track fueled the journey to space to find the president.
Even rescue astronauts need a distraction as proved in “Shuttle Dance Night”. The samples were great, but the singing as provided by Pete and Mary Alice was far more intriguing. Plenty of 80s references reside on this track all sampled perfectly.
“Stand For The Air Demon” carried beats like none other. The end dropped with an almost Orson Welles monolog that drifted into silence only to be picked up and amplified in “Nine Miles To The Water”.
The only problem with “Two Mummies” is that someone missed the opportunity to toss a freestyle over it. I suppose there’s always a chance of the Relaunch Remix.
This is where I stop talking about the album because really do not want to ruin it for anyone. If you’ve found yourself interested in this crazy tale, then it is up to you to check out the album to find out the conclusion.
As for The Electric Grandmother, they’ve once again wowed me with originality, but impressed me with how much further they have taken their talents music-wise. They have not lost their charm, but at the same time are showcasing their true worth. Never quit you two.
Available on Bandcamp, the band is taking proceeds from this album and donating to their favorite DC hangout spot, Slash Run.