I’m very stoked to be able to premiere a track by a band called Borders for you all to enjoy.
Featuring Dustin Andrews, formerly of Of Us Giants, this alt rock band has put out one hell of a single and I was asked to showcase it on my site. After I listened to it, I could not wait to share it.
Last year around this time, I was talking up Of Us Giants and was more or less shocked when the band called it quits before they even got to tour. Things happen for a reason I suppose.
Borders pretty much carries the torch that was prematurely dropped by Of Us Giants. I am looking forward to hearing their full-length titled Wandering Youth that should drop in May.
What can be said about Elliott Smith that most people have not said already? You either loved him or did not care for him.
Smith left his legacy suddenly years back in the worst way possible and his music has remained for the world to sulk upon when in need.
In 2003, Smith ended his life after suffering from depression for years. I have no words for his choice on how he bowed out to the world nor will I even go into detail.
The 90s punk me was introduced to Smith’s self-titled album by some of my indie-loving friends years before “Needle In The Hay” was heard in The Royal Tenenbaums. I’ll be honest and tell you that I never appreciated him until after his passing. I remember liking what I heard, but apparently was too much in love with the SoCal punk scene.
The twenty-something-year-old-me back then was not impacted as much as present day me would have been. I hate to admit it, but at the time I was not deprived of Smith’s talent when I learned of his passing. Twelve years later, I have a different way of looking at his loss.
The album, dropping on Ramseur Records, is not a reinvention of Smith’s work, but more of an appreciation for someone they both were fans of.
Produced by Avett and recorded over the last three years at Echo Mountain Studios in Asheville, NC as well as at Avett’s and Mayfield’s homes, the album features renditions of twelve Elliott Smith songs.
It was almost haunting to hear Mayfield start out “Between The Bars”. This version sent chills throughout my body. I loved how Avett joined Mayfield but did not dominate the song.
I really enjoyed the piano playing that built up throughout “Baby Britain” and feel Avett nailed it when trying to recreate. It started off slower with acoustic playing but soon jumped into a more upbeat cover. It kills me that this was a more popular song of Smith’s and was all about his addiction, but it really is a great song. (Side note: I enjoyed this cover way more than Bayside’s 2008 version)
“Ballad Of Big Nothing” was just as depressing as the original on Smith’s Either/Or. Not that i was expecting anything different, but the impact that Mayfield’s voice with Avett provided a different dismal angle.
I would have loved to have heard Avett take lead on their version of “Roman Candle”. The distorted guitars were awesome but I really wanted to hear a more close to the original version of the signing to this amazing track. I was rather underwhelmed on this.
The original version of “Memory Lane” always reminded me of something the Beatles might have done. Hearing Avett slow it down a bit with a stings section made me think of the Beatles even more. This was a great version of the original.
The collaboration of Avett and Mayfield only made sense seeing how they have been pals for years now. For them to cover Elliott Smith songs was nothing next to brilliant. The best part is how they chose what material to cover and how they each took turns taking the lead. They reached all over Smith’s catalog including some hits and more obscure tracks.
This is the part where I encourage those who never cared for Smith to take a listen and hear his brilliance in a different dynamic. Love him or hate him, Smith was an incredible songwriter. This covers album proved that so well.
If you’re lucky, you can even catch them live throughout March: March
10 McGlohon Theatre, Charlotte, NC
11 The Birchmere, Alexandria, VA
12 Town Hall Theatre, New York, NY
14 Keswick Theatre, Glenside, PA (Philadelphia)
17 James K. Polk Theatre/TPAC, Nashville, TN
18 Southern Theatre, Columbus, OH
20 Athenaeum Theatre, Chicago, IL
22 Fitzgerald Theatre, St. Paul, MN
24 Boulder Theatre, Boulder, CO
26 Neptune Theatre, Seattle, WA
27 Crystal Ballroom, Portland, OR
29 Palace of Fine Arts, San Francisco, CA
31 Wilshire Ebell Theatre, Los Angeles, CA
Side note: This powerful scene with Richie in The Royal Tenenbaums is beyond horrifying even more so when you think about what happened just a couple years later… I am glad Avett and Mayfield did not cover this track.
Indie-punk duo Big Dick have returned with an all new album titled Disappointment.
This is a follow up to the band’s impressive 2013 self-titled debut and once again has been released through Dirt Cult Records.
Before you question the band’s name and its meaning, just note it was taken from a NoMeansNo song title. Don’t dig in too deep you pervs. Who am I kidding? If you ever heard the original song, your questions might be validated instantly.
Anyways…
Cultivating their own sound with just drums, bass, and dueling vocals, Big Dick really reaches back to 90s alternative rock styles while keeping a DIY punk and even garage rock edge. The result is melodic yet heavy at times making for a truly killer listen.
“Let Down” was a catchy self-esteem downer of a track fueled throughout with a heavy distorted bass. This opening track was a subtile reminder to me how much I enjoy this band as well as one of my favorite cuts on this release.
“Last Days” straight up ruled with the dual harmonies and just addicting bass riffs. It’s hard to believe that there are only two dudes in this band when you hear songs like this. This was another favored track over the rest.
“Up A Step” took more pop-punk noise route that was totally ok with this listener. At times, the vocals just seemed off but not enough to ruin the track.
“Out On A Limb” was a tad more technical with intricate bass lines. The dual vocals and singing on “Crawl” was worth of an immediate second listen. I dug this track a ton.
Tracks like “Marnier”, “Good Hunting”, and “Another Minute” really showed the band has matured and mastered their own sound. From the lyrics to the insane drum and bass playing, I could not help but just get sucked into what I was listening to. Then came “Young Love”, a more experimental track of sorts that clearly could have been a Ween b-side.
“Bad Dream” was one of my favorite tracks on the album. I loved the different genres I could hear in this track, especially the grungy garage rock. The slight harmonies in the background and the throat-clearing screams made it that much better.
Disappointment is anything but that. Fans of Japandroids, Two Gallants, and even Death From Above 1979 are going to eat this up.
4 bands, 4 songs, all emo. That is what Sundae Bloody Sundae is all about.
The 4-Way Split was put out by Skeletal Lightning last November and easily has the ability to make you take a break from life and check your feelings.
Don’t worry, it’s ok to do that – we are human after all and this split is not all that sad.
Featuring new and unreleased music by four talented acts, Sundae Bloody Sundae is a great comp to be listening to if you are looking for a little variety by some bands you may have overlooked at one time or have not even heard of.
The World Is A Beautiful Place & I Am No Longer Afraid To Die‘s “Fat Heaven” will depress the shit out of you and make you hungry possibly for a donut. Man, what a downer of track. I seriously think listening to this with your head down, walking slowly in public and avoiding all eye contact is the only way to listen to this tune. I loved it. There is a reason so many people dig this band…
Rozwell Kid did an impressive cover of Spirit Night’s “The Weather”. I can’t lie, I thought I liked the original more, but the more and more I listened to this track over and over, Rozwell Kid’s own Weezer-esque twist on the original won me over.
Kittyhawk….oh Kittyhawk. You make my heart bleed. Listening to “Soft Serve” turned me into just a pile of mush. The thing I loved the most about this track is the 90s feel I sensed throughout. Dare I say, but the dual vocals remind me of The Cranberries a ton.
Two Knights‘s “Benji’s Cool Times Summer Jamz” was a little technical, a little instrumental, and plenty interesting to listen to. Starting off uppity, things soon slowed down with a self-reflection of sorts.
At a whopping $3 to download or $5 for a flexie, I think this would be well spent money to any music fan out there. This will last a lot longer than a sundae, especially if you are me.
Tracklisting (Two-sided):
Side A:
The World Is A Beautiful Place & I Am No Longer Afraid To Die – “Fat Heaven”
Rozwell Kid – “The Weather (Spirit Night)”
Side B:
Kittyhawk – “Soft Serve”
Two Knights – “Benji’s Cool Times Summer Jamz”
Pressing information
1,000 copies –
– /250 White Flexi w/ screenprinted hand-numbered covers (Available exclusively at FEST 13)
– /750 Clear Flexi w/ full color cover.
Apparently a few years back, Mason and his pal Walker decided that someone needed to make a Todd C. comp for all to hear.
What once was a booze-fueled conversation between pals turned into reality as Mason reached out to tons of bands and many of them sent in covers to be included. Maybe it did not go as quickly as he and Walker had intended, but one day Mason realized he had more than enough to make their idea a reality.
I am sure if you are a fan of punk rock, you now know who I speak of. Even if you are not, you should check out this comp and become familiar with Todd C. This dude packs tons of talent.
Todd Is My Co-Pilot features covers by amazing acts like The Brokedowns, Iron Chic, Low Culture, Sundowners, and even Mike Watt and the Secondmen.
Vacation did a great rendition of “Dead Inside” while Iron Chic put their own twist on Toys That Kill’s “White Lies”. I loved the fuzzy bass on this track. Apocalypse Meow’s clean cover on “Illegitimate” was very close sounding if not a little slower but still awesome.
Full Sun was an act on this comp who I have not really gotten to know, but after hearing them cover Toys That Kill’s “31 Year Old Daydream”, I realize that needs to change. The very 80s female driven punk rock sounds were perfect for this take and invited me to check out their original material.
Hearing The Plurals cover Todd C’s “You’ll Hear My Voice” instantly reminded of the very interesting video I saw for this song that was full of Kewpies. Check it out here.
Of course I need to talk about Mike Watt & the Secondmen’s take on “No One”. I was so stoked to see Watt and crew on this comp and to be honest, their version of the track was….well…experimental-ish. It was like Primus meets Ween meets Toys That Kill. I still dug.
This is not just some half-assed idea when you look at who all contributed. The best part about this comp? Dirt Cult released it for free. Zero cheddar. Nada.
So what the hell are you waiting on? Either head over to the Dirt Cult Band Camp page, or click below and proceed to download. It’s pay what you want, so do your thing and hope no one finds out how much of a cheap ass you really are. More importantly, enjoy.
This music blog could have a driver's license by now…
t this was a more popular song of Smith’s and was all about his addiction, but it really is a great song. (Side note: I enjoyed this cover way more than 
