It's hard for me to think of anything worthwhile to say at this moment. The world seems okay when you can be distracted for a day, but it's never long before something like a black man getting suffocated to death by a racist cop or a black woman being pushed off her apartment balcony by a group of cops who conveniently have their body cams off reminds you that our world is so profoundly flawed and basically not worth of existing.
Yesterday I figured that I would put up a Spotify playlist that I had made. Kind of seems trite now, but I don't know what else to do and I guess there's no reason I can't. It's mostly spacey ska/reggae punk songs that aren't actually ska songs. I made it originally because it's a little niche subgenre that I like to put on when it's really hot out and I'm smoking a joint. Some of the songs are anti-cop, so maybe that's how I can tie. Put it on and let's hope that one day a bunch of pigs will get their heads cut off in a public square because that's what they fucking deserve.
ACAB
Showing posts with label Culture Abuse. Show all posts
Showing posts with label Culture Abuse. Show all posts
Friday, May 29, 2020
Thursday, June 20, 2019
Wouldn't Want to if I Was in Your Shoes
I was listening to Saves the Day's fourth, and unjustly maligned, album In Reverie today for the first time in ages. Like pretty much everyone else in the world, I can agree that the album which preceded it, Stay What You Are, is miles better, but I can also see what they were going for on the follow-up. In Reverie leans a little more into contemporary rock territory than the light classic rock feel they dabbled in before and you would think that would lead them to better performance on rock music charts, but it didn't. Chris Conley used a very different singing style on the record because of vocal chord problems, but that can't be it, can it?
Anyways, this post is not about that album. It was only to introduce it! What a sneaky cold open!
After In Reverie finished, Saves the Day's Self-Titled started playing automatically in my iTunes.* I don't really have much of a bond to the record, but it does take me back to a time when they were one of my favourite bands and I was absolutely all-in on everything they did.
*I actually think this album is okay. There are a couple of pretty fun, poppy rock songs ("In the In Between", "The Tide of Our Times", "Stand in the Stars") that almost make you believe the band is on some next level late-career renaissance shit, but there's also enough slow boring stuff to convince you they should hang it up. All told, it's at least a good creative direction for a band who's been active for over 20 years. I can respect a band for still trying new things and "doing it" as opposed to just rehashing their most successful sound in a pandering way, like blink did on California.
I saw Saves the Day play at Pouzza Fest in Montreal the summer before Self-Titled came out. They played a new song at that show and I remember being pretty stoked on it, but that can also be chocked up to me seeing one of my favourite bands for the first time and having an all-around amazing time. Later that summer, they released "The Tide of Our Times" and my hopes were high on them putting out a solid follow-up to Daybreak, which I loved. As a fan of the band's entire discography up to that point, I was convinced that this would be another addition to a storied career. When it did come out, I gave it a decent amount of listens, but eventually found that it just didn't resonate with me like all of their past material did.
However, the feeling of anticipation I had before the record came out is exactly what I chase as a music fan. Watching an artist operate at the best of their abilities and put things out that matter to you is special. It's even more special when it's a lesser-known band and you get to have this relationship privately, just you and the music. I know that Saves the Day is a huge band, with singles that are a touchstone for the genre and nine full-length albums, but I got that feeling a little bit while waiting for Self-Titled to come out.
Today, I started to think about who I'm currently "all in" on. The obvious first one is Oso Oso, who I won't spend another post gushing about right now (I will take an opportunity to link to their newest single though, it's great!). Tony Molina is another. Since Bay Dream came out, I would say I'm getting there with Culture Abuse, as their "Police on my Back" cover, "Goo", and "Wartime Dub" have all been excellent.
This brings me to Baggage, the new(ish) band of Jono Diener, who was the drummer and one of the songwriters in IMU sentimental favourites The Swellers. So far, they've put out two excellent EPs that continue the 90's alternative/punk hybrid that The Swellers were moving towards on their last two albums. Maybe Jono's vocals were the secret sauce to me loving that band? Highly recommended!
Baggage recently signed to Smartpunk Records and are going to release their first full-length album later this summer. So far, they've released two songs from the record, "Horseshoe" up above and "Misophonia" below, and I find that I've been looking forward to the record more than many others that will come out in 2019. In terms of being all in, I'm not sure if I'm there with them yet, but a good record for me to blast while I'm all alone in a new apartment in Montreal will almost certainly put them there. Here's to hoping.
Anyways, this post is not about that album. It was only to introduce it! What a sneaky cold open!
After In Reverie finished, Saves the Day's Self-Titled started playing automatically in my iTunes.* I don't really have much of a bond to the record, but it does take me back to a time when they were one of my favourite bands and I was absolutely all-in on everything they did.
*I actually think this album is okay. There are a couple of pretty fun, poppy rock songs ("In the In Between", "The Tide of Our Times", "Stand in the Stars") that almost make you believe the band is on some next level late-career renaissance shit, but there's also enough slow boring stuff to convince you they should hang it up. All told, it's at least a good creative direction for a band who's been active for over 20 years. I can respect a band for still trying new things and "doing it" as opposed to just rehashing their most successful sound in a pandering way, like blink did on California.
I saw Saves the Day play at Pouzza Fest in Montreal the summer before Self-Titled came out. They played a new song at that show and I remember being pretty stoked on it, but that can also be chocked up to me seeing one of my favourite bands for the first time and having an all-around amazing time. Later that summer, they released "The Tide of Our Times" and my hopes were high on them putting out a solid follow-up to Daybreak, which I loved. As a fan of the band's entire discography up to that point, I was convinced that this would be another addition to a storied career. When it did come out, I gave it a decent amount of listens, but eventually found that it just didn't resonate with me like all of their past material did.
However, the feeling of anticipation I had before the record came out is exactly what I chase as a music fan. Watching an artist operate at the best of their abilities and put things out that matter to you is special. It's even more special when it's a lesser-known band and you get to have this relationship privately, just you and the music. I know that Saves the Day is a huge band, with singles that are a touchstone for the genre and nine full-length albums, but I got that feeling a little bit while waiting for Self-Titled to come out.
Today, I started to think about who I'm currently "all in" on. The obvious first one is Oso Oso, who I won't spend another post gushing about right now (I will take an opportunity to link to their newest single though, it's great!). Tony Molina is another. Since Bay Dream came out, I would say I'm getting there with Culture Abuse, as their "Police on my Back" cover, "Goo", and "Wartime Dub" have all been excellent.
This brings me to Baggage, the new(ish) band of Jono Diener, who was the drummer and one of the songwriters in IMU sentimental favourites The Swellers. So far, they've put out two excellent EPs that continue the 90's alternative/punk hybrid that The Swellers were moving towards on their last two albums. Maybe Jono's vocals were the secret sauce to me loving that band? Highly recommended!
Baggage recently signed to Smartpunk Records and are going to release their first full-length album later this summer. So far, they've released two songs from the record, "Horseshoe" up above and "Misophonia" below, and I find that I've been looking forward to the record more than many others that will come out in 2019. In terms of being all in, I'm not sure if I'm there with them yet, but a good record for me to blast while I'm all alone in a new apartment in Montreal will almost certainly put them there. Here's to hoping.
Friday, December 14, 2018
The 2018 I, Musical Genius Musical Revue
Even though I've spent a lot of this year focusing on building up my portfolio on my Wordpress site, it's very important to me that I keep my year-end list write up on I, Musical Genius. When I first started writing here, these lists were my first forays into long-form writing and I think they were instrumental in me finding my voice as a writer. Though I may be other places, these lists will only ever belong on I, Musical Genius. Let's rip, these are in no order.
I eagerly anticipated this album after reading a great interview with Damian in the Canadian music magazine Exclaim! It delivered on my expectations and I think that this is their best work since Hidden World and The Chemistry of Common Life. It's a drugged out British version of David Comes to Life that, I think, gives a more interesting and nuanced interpretation of that story. Has a hardcore band ever been on Fucked Up's level? Is Fucked Up the best band to ever come out of Toronto. This album makes me believe so.
Bonus content: Here's the Exclaim! article I mentioned. Also, Fucked Up's Damian Abraham and Mike Haliechuk, who are noted for clashing creatively in the band, did an episode on Damian's podcast Turned Out a Punk and it makes for a great companion piece to the album.
The thing that interests me most about this record is how difficult it is to pigeonhole it. So often now, I find that band are purposefully working through a specific interest, or purposefully using a genre trope or sound. Fiddlehead is kind of hardcore, kind of punk, kind of post-punk, kind of poppy, but the songs never really sit in any of those categories, and I think that's what makes this record really interesting.
Out of all the albums I knew would be released in 2018, Tony Molina's was the one I was most anxious to hear. I would have liked a little more stoner fuzz on it, but I also appreciate that he's pushing himself to write 60's-style folk pop and allowing his vocals to carry the melody, which seems like a strip down to bare parts, but is very hard to pull off. One of my very favourite artists producing music right now.
The first time I listened to Ordinary Corrupt Human Love was while skateboarding to a park to hangout with my brother on a hot night in the summer. It was the perfect soundtrack for that.
Few things disappoint me as much as the fact that I continue going to bat for ska, but so few actually good ska releases are put out anymore. Dan P bucks that trend and makes up for everyone else dropping the ball by writing big band ska songs that still rely on pop song structure.
I'm pretty over shoegaze because I feel like most bands lean to heavily on having the right gear to make their guitar sound huge and atmospheric while forgetting to write a good song first. I don't care that you have a Twin Reverb. I care about your songs. On Dance on the Blacktop Nothing write wonderful Britpop songs and and then blow them up into huge dreamy gaze numbers. That's an important distinction to make and it's also why Nothing is the only shoegaze band I still listen to.
I was very shocked to receive a new Shook Ones album in 2018, as I was pretty certain they had broken up. But they had not! Body Feel builds on the moves the band started to make with The Unquoteable A.M.H,, establishing that they're more than a Kid Dynamite clone and have a depth to their music that most contemporary punk is sorely lacking. I always appreciated the personal/political bent of their stuff and that continues here. Happy to have you back.
Yes, only a two-song single, but Oso Oso is my favourite band currently making music and these both fucking bang like a shotgun. Can't wait for the next release.
Other things I was into:
Buddy - Harlan and Alondra, Joyce Manor - Million Dollars to Kill Me, Lifted Bells - Minor Tantrums, Doe - Grow Into It, Drug Church - Cheer, Lil Wayne - The Carter V
Also, Daniel Romano released three albums this year. While none of them resonated with me the way that Modern Pressure did, you have to respect his insane drive and artistic vision. Three albums! All good! That alone mentions merit here, though it also helps that he's constantly evolving his sound and low-key turning into alternative music's equivalent of the Coen Brothers.
The Sidekicks - Happiness Hours
When I saw The Sidekicks touring Happiness Hours earlier this year, I was convinced that this was the best album of the year while I watching them. I'm not sure about that now, but I also have no idea what the best was anyways. This is up and is a huge return to form for them. Really great power-pop songs with huge bass parts and vocal hooks and it takes you on a wonderful journey from start to finish.
I eagerly anticipated this album after reading a great interview with Damian in the Canadian music magazine Exclaim! It delivered on my expectations and I think that this is their best work since Hidden World and The Chemistry of Common Life. It's a drugged out British version of David Comes to Life that, I think, gives a more interesting and nuanced interpretation of that story. Has a hardcore band ever been on Fucked Up's level? Is Fucked Up the best band to ever come out of Toronto. This album makes me believe so.
Bonus content: Here's the Exclaim! article I mentioned. Also, Fucked Up's Damian Abraham and Mike Haliechuk, who are noted for clashing creatively in the band, did an episode on Damian's podcast Turned Out a Punk and it makes for a great companion piece to the album.
Turnstile - Time & Space
On the other hand, I love that recently everyone has stopped being afraid to love breakdowns and heavy chug parts in hardcore and I think that Turnstile has been a huge part of that. Heavy and groovy, but also channelling a lot of Give-esque counter culture influence. Great stuff and I love the direction they're taking as a band. Plus they got Atiba Jefferson to shoot a video! Worlds colliding!
The thing that interests me most about this record is how difficult it is to pigeonhole it. So often now, I find that band are purposefully working through a specific interest, or purposefully using a genre trope or sound. Fiddlehead is kind of hardcore, kind of punk, kind of post-punk, kind of poppy, but the songs never really sit in any of those categories, and I think that's what makes this record really interesting.
Culture Abuse - Bay Dream
Culture Abuse did the most difficult thing a band can do on Bay Dream, trimming off all superfluous parts in their sound and making a tight, succinct album that defines their identity as a band. Each song moves naturally through its construction and has great hooky guitars and choruses that gives the pieces character. The band sounds like their recognizing their influences and purposefully nodding to past artists, but do it in a way that seems natural and never hackneyed. On top of that, the lyrics are simple and to the point, but do a wonderful job of world building and drawing you into the life that Culture Abuse lives. As perfect an album as CA will make.
Out of all the albums I knew would be released in 2018, Tony Molina's was the one I was most anxious to hear. I would have liked a little more stoner fuzz on it, but I also appreciate that he's pushing himself to write 60's-style folk pop and allowing his vocals to carry the melody, which seems like a strip down to bare parts, but is very hard to pull off. One of my very favourite artists producing music right now.
The first time I listened to Ordinary Corrupt Human Love was while skateboarding to a park to hangout with my brother on a hot night in the summer. It was the perfect soundtrack for that.
Dan P and the Bricks - When We Were Fearless
Few things disappoint me as much as the fact that I continue going to bat for ska, but so few actually good ska releases are put out anymore. Dan P bucks that trend and makes up for everyone else dropping the ball by writing big band ska songs that still rely on pop song structure.
I'm pretty over shoegaze because I feel like most bands lean to heavily on having the right gear to make their guitar sound huge and atmospheric while forgetting to write a good song first. I don't care that you have a Twin Reverb. I care about your songs. On Dance on the Blacktop Nothing write wonderful Britpop songs and and then blow them up into huge dreamy gaze numbers. That's an important distinction to make and it's also why Nothing is the only shoegaze band I still listen to.
I was very shocked to receive a new Shook Ones album in 2018, as I was pretty certain they had broken up. But they had not! Body Feel builds on the moves the band started to make with The Unquoteable A.M.H,, establishing that they're more than a Kid Dynamite clone and have a depth to their music that most contemporary punk is sorely lacking. I always appreciated the personal/political bent of their stuff and that continues here. Happy to have you back.
Vince Staples - FM!
A downside of punk is that your mind gets used to every album being under 30 minutes and it becomes difficult to remain focused on things with longer run times. Specifically with rap, whose albums often hold 20-ish tracks, I always catch myself wondering why they don't trim the fat and sketches on longer releases. Fortunately for me, Vince Staples is here to deliver exciting and dense rap albums that don't give you time to get bored.
Yes, only a two-song single, but Oso Oso is my favourite band currently making music and these both fucking bang like a shotgun. Can't wait for the next release.
Other things I was into:
Buddy - Harlan and Alondra, Joyce Manor - Million Dollars to Kill Me, Lifted Bells - Minor Tantrums, Doe - Grow Into It, Drug Church - Cheer, Lil Wayne - The Carter V
Also, Daniel Romano released three albums this year. While none of them resonated with me the way that Modern Pressure did, you have to respect his insane drive and artistic vision. Three albums! All good! That alone mentions merit here, though it also helps that he's constantly evolving his sound and low-key turning into alternative music's equivalent of the Coen Brothers.
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