A few weeks ago, a good pal of mine sent a text message telling me to check out a band he was digging on called Of Us Giants. He immediately said they reminded him of Manchester Orchestra.
Seeing how I respect all my friend’s music decisions, there was no doubt in my mind that his suggestion was going to at least be worth a listen, but for some reason I held off on doing so.
Recently, Jon Jennings, the bassist for Of Us Giants, emailed me suggesting I check out his band’s upcoming release Nova Scotia. I was immediately reminded of my pal’s suggestion and decided I needed to stop dragging my feet and take a listen. I am glad I did, because by the second song in, I was looking where to place a pre-order for the vinyl release.
Of Us Giants, hailing from California, is a three piece indie rock act that is certainly going to be getting some major attention in 2014 with their upcoming first full-length release titled Nova Scotia. I don’t say this just for the sake of saying it of course. I was very impressed with what I heard and can only hope that I am right.
At first listen, Of Us Giants carried a certain Brand New-like feel, well kind of. I am sure they have heard that a million times already. Truth is, they also had a great unique sound to them with the lead vocalist carrying a singing style that, to me, teeter-tottered between indie, emo and even some prog rock that I just found myself digging.
There really are all kinds of styles intermixed throughout when I listened to their release. I was reminded of Bright Eyes to Seahaven at times and I would be lying if I did not say I even heard a little Coheed & Cambria (sans the complex sci-fi story) as well as The Early November and Taking Back Sunday. Needless to say, there are plenty of likable qualities throughout this record that just kept me captivated.
“Sycamore Tomb” was a solid track that I feel has plenty of on-air playable qualities with lead vocalist Dustin Andrews giving it his all. Add additional harmonies by Jon Jennings, and suddenly the song was trapped in my mind for hours after my first listen.
One of the songs that threw me off a little was “Iron Boat” featuring Lindsey Pavao, a former Voice contestant whom I have never heard of before (that’s the competition with Cee-Lo and the spinning chairs that look like they belong in the Knight Rider car, right?).
Don’t get me wrong, I am not against the song completely or Ms. Pavao, but I just didn’t feel that the track fit in with the rest. Not sure whose decision it was to add this happy-sounding track in the midst of a more emo-heavy album, but it is what it is I suppose. I will admit that the second and third listens were better than my first taste of this track though.
“Take It Home” started off with a Nirvana sound that of got me all nostalgic for an Unplugged session. I loved this track from start to finish and that may have something to do with the guitar styles reaching back to 90s alt-rock styles only to change it up to a heavier riff.
In “Dying”, Andrews sang a convincing “all I really know is I’m sorry, I’m sorry” multiple times in this somber track that picked things up halfway through. I loved the spoken word at the end of this track, and honestly, feel that it made an even heavier lasting impression.
Staring off like an upbeat track, “All Of My Daughters” turned into more of a gloomy song about a father admitting his absence from the lives of his offspring. The song just kept building up and peaked just perfectly.
The album-titled track “Nova Scotia,” once again featuring Ms. Pavao singing along side Andrews, just did not do it for me. Pavao has a great voice and all, but as hard as I tried, I just didn’t care for this duet. Sadly, this was the last track on the album and I had no choice but to start over as I longed for more.
I would not be surprised if this band was taking over stages in the near future playing to sold out crowds. This is an impressive release that I can see all sorts of music lovers getting into. Don’t sit on Of Us Giants like I did, it is too good to pass up.
Punk rock has been saved folks and it is all due to this Pittsburgh-based, cop adoring, pizza loving, beer swigging group of working class gentlemen. In a non-serious attempt at making fun of quite possibly everything in only 24 minutes, Worlds Scariest Police Chases have dropped quite the deuce of an album that is sure to offend some and entertain the rest. The title you ask? NOFX And Out Come The Wolves Dookie.
Yes, that is the album title. The cover for the album is even better. Seriously, just look at it for a second:
Brilliant.
Taking jabs anyway they can at punk rock, the 7-piece chose to name their debut full-length release NOFX And Out Come The Wolves Dookie. The cover alone is a clear derivative of the classic Dookie album artwork complete with some rancid-looking dude and a farm animal being more than just friends. I am still curious to see what feedback is received from all of this.
“Blackin’ In” started off the album talking about blacking out, and I am not talking about anything pertaining to electricity. “Robocop” gave crazy amounts of nods towards a cop who clearly has a coughing problem and does not necessarily hail from Detroit.
“5000 years ago, when the earth was covered in snow, Jesus and Moses wore fur coats, and rode around on god damned dinos” started off the hilarious track titled “Gay Jesus For President”. Obviously those who huddle up in houses of god on Sundays, Wednesdays, Thursdays, and maybe Saturdays are going to absolutely love this jam, and when I say love I mean hate, and when I say jam, I am talking about strawberry preserves. If you dig this track as much as I did, then you need to scroll to the bottom of this post and check out the video. Watch it with an open mind please.
“Punk Rock Ruined My Life” clearly was all about the art of selling out. With shout outs to Ian MacKaye and the artist previously known as Tommy Gabel, the band is all about letting everyone know that they make music because they want to and not because they want to fatten up their wallets.
“You’re Only Punk Once” cracked me up when I heard, “when life hands you horses, you make fucking glue”. Needless to say, it stuck with me (pun intended). Aside from that line, the song was about being a self-sufficient, DIY, human being who may still live in their parent’s basement and enjoy microwavable foods.
Released on A-F Records, NOFX And Out Come The Wolves Dookie reminds me of a less pop, more punk Guttermouth mixed with Propaghandi, D.F.L. and maybe even some Leftover Crack sans the gutter. Now that I have typed that I am now asking myself if kids these days even know who D.F.L. is.
Anyways… Listening to WSPC really reminded me of the fun and careless hardcore punk of the 80s and 90s. Apparently my aging ass has been missing that.
Having played the Playstation 1 game and wasted my life on the television show, it is no surprise that I am a fan of WSPC the band as well. Their fast and fun punk rock approach is just what I needed in my ears. If you are tired of all the bullshit and need something to just make you feel like there is hope for humanity in the punk rock world, then perhaps you need a quick dose of NOFX And Out Come The Wolves Dookie.
Just in time for the holidays, your favorite pop-punk band Teenage Bottlerocket has announced an upcoming 7″ titled American Deutsch Bag”.
Featuring tracks like “Ich bin Auslander und Spreche Nicht Gut Deutsch” and “I’m the One Smoking Marijuana Motherfucker”, this album is sure to be a family favorite. At just under 4 minutes long, I think it is safe to say that TBR have put together a masterpiece.
Actually, the songs have nothing to do with the holidays, but everything to do with Germany. Well, sort of. The band, after falling in love with Germany, decided to pay their own homage in a humorous way. I know I enjoyed their new tracks.
The band also threw on their appropriate cover of the late Tony Sly’s “Via Munich”. This is the same track found on the Tony Sly tribute that dropped just last month.
TBR’s very own Ray had this to say about the idea of the German friendly tunes:
On Teenage Bottlerocket’s last tour in Europe, we made friends with a dude in a Lethal Weapon 2 hat. We referred to him as a Deutsch bag. He was a good sport and found the insult endearing. I’ve always loved Germany. I took German in high school and we sang alot of songs. One of the songs was entitled “Ich bin Auslander und Spreche Nicht Gut Deutsch”. This is roughly translated “I’m not from here and my German sucks”. We decided to make it a pop punk song. If I screw up any of the pronunciation it’s because my German sucks, it’s a pretty good excuse to fuck up the words. We also included a new song about smoking reefer and a song by our dear friend Tony Sly called “Via Munich”. We recorded the 7″ at the Blasting Room with Andrew Berlin. Everything seemed to fall into place. The 7″ will be available on our upcoming European tour with VOLBEAT and ICED EARTH. Guten tag.
Wait. Did Ray just say they were touring with Volbeat and Iced Earth in Europe? Bad ass.
Dead 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.
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:
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.
So 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.
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!!!
This music blog could have a driver's license by now…
A few weeks ago, a good pal of mine sent a text message telling me to check out a band he was digging on called Of Us Giants. He immediately said they reminded him of Manchester Orchestra.
