Showing posts with label frightnrs. Show all posts
Showing posts with label frightnrs. Show all posts

Sunday, April 25, 2021

It's Been a Long Time since I Could Look in the Mirror and Fake a Smile

Something that has warmed my heart over the last 2ish years is the growing community of new ska bands and the scene they've fostered online. Pretty much all of these bands are involved in some way with Bad Time Records, who have done an amazing job of proudly trumpeting new ska bands, and then move towards being proud of playing ska has been so necessary.

 About five years ago, Duff made a joke to me that every new ska band that started was a clone of either Reel Big Fish (the most popular), Sublime (the least ska), or Operation Ivy (the best version of this, but still not great). This is a hyper-simplified way to sum up an entire scene, by someone who's not remotely involved, but it mostly tracked. There were definitely new bands that excited me, like the new permutations of the Bruce Lee Band, Dan P and the Bricks, and the Nix86, but those were vastly outnumbered by white kids from the suburbs who were starting a band that sounded like RBF and wrote joke lyrics. I hate that people rip on ska without giving it a chance, but there were also many bands that weren't doing them any favours.

Jeremy Hunter, A.K.A. Skatune Network, A.K.A. JER, who has also played a huge role in the recent growth of ska, touched on this issue in many interviews over the last couple of years.* Ska has always been good, but so many people are hung up on the big bands from the 90s and still only supporting them, rather than seeking out new bands to see what is developing. Another problem is that what has historically a diverse genre, featuring mixed races and genders in bands, was boiled down to its whitest version. The saving of ska will rely on bands featuring POC and queer members emerging and everyone supporting that.

*I've read a bunch, but I feel like I remember their interview on blink-155 the best. It's at the end here

That's been mostly borne out in the last few years around Bad Time Records and I love it. People are constantly asking "When will the fourth wave start?!" (puke), but Bad Operation gave this movement a great name by calling themselves New Tone. I really fuck with that term, so here are my favourite New Tone releases:

Frightnrs


Out of all these records I'm about to list, this one qualifies least as "New Tone", as it came out in 2016 and doesn't have any of the punk influence that the others do. It is an amazing trad ska/reggae/rocksteady album in the vein of New York's many masters of that style, like the Slackers, David Hillyard and the Rocksteady Seven, and Inspector 7.

Grey Matter


Grey Matter reminds of a a tonne of bands that I would try to listen to in high school, but find too abrasive and not understand. I would understand that they were cool and that there was interesting things going on, but was too conditioned to only like things that sounded like blink and NOFX. Fortunately, I am now ~mature~ enough to appreciate Grey Matter.

Bad Operation


Bad Operation popped up out of nowhere and immediately started promoting singles for a forthcoming album. My favourite thing about them is how different they sound from every ska band I've heard for the last 15 years. It's "Ghost Town" by the Specials filtered through DIY punk. And they coined the term "New Tone"!

Kill Lincoln


My favourite active ska band. Poppy and upbeat ska combined with super catchy pop-punk. All the best parts of Anthem and B is for B-Sides. No ska band since ASOB has put out two back-to-back releases like Good Riddance to Good Advice and Can't Complain. If ska were a wrestling promotion, they would be the Television Champion, and I mean that in the most respectful way possible.

JER


Skatune Network has been the loudest and most important voice in ska over the last few years and I truly appreciate all the work they've done. Their covers are fun, especially the excellent Pick It the Fuck Up!, but all they've done has made me eager to see what sort of original music they could make outside of We Are the Union. JER is their solo project and it fulfilled that promise. Can't wait for the full-length.

Other enthusiasms!


One of the most relaxing things during the pandemic has been watching skate videos. Like everything else in the world, it's found a home on Youtube and most companies now just just upload their stuff to stream online, instead of selling it. The Thrasher series Homies has been my favourite series this year bar none. It follows a group of skaters as they hang out and film for a day and I love the vibe of skaters not caring about getting tricks and just having fun. It also helps that skaters I love to watch, like the Deathwish team and Ishod Wair are front and centre.


I have heard through the skateboarding gossip machine that it is apparently no longer fashionable to like Toy Machine, a company that I've always loved. Vaccine is the company's first video in a little bit, it kicks ass, and it features a lot of new faces. Tyshawn Jordan is the big signing, but the supporting cast of flow riders and Braden Hoban really show up too (I also still love DanLu, Axel, and Leo). Fuck the haters. I'll continue loving Toy for as long as Ed Templeton runs the show.

Thursday, December 22, 2016

The 2016 I, Musical Genius Musical Revue



Once more, we are about to embark on an engaging journey through my year in music. As usual, I'm not going to number the releases, because I feel like the degree to which I enjoy my 7th-ranked album over my 8th-ranked is pretty negligible. If you really need a #1 pick, let's give it to Joyce Manor, with Crying as a close second.


Every time Joyce Manor puts out a new record, I remember how much I love everything that Joyce Manor has put out. Cody continues the trend towards a polished sound started with Never Hungover Again and is certainly their most poppy material yet. The band leans huge on Weezer, Big Star, and Cheap Trick sound-wise and I fucking adore it. This is a record I wish I had written. I've come back to it many times and love love love it. Easily my favourite release of theirs.


I started listening to Crying last year and found their emo/shoegaze/chiptune hybrid really fun and catchy. While I was excited for new music, I wasn't expecting this huge of jump in quality at all. Crying has catapulted themselves up list of favourite current bands. The emo parts of their sound has been layered with more spacey indie influences and the chiptune side with more synth-pop. A phenomenal and impressive in songwriting ability and a fucking great record. 


I was pretty late to the party on Nothing and only started listening to Guilty of Everything shortly before Tired of Tomorrow came out, so this album has really been my main introduction to the band. The emo/shoegaze/vaguely-grunge thing is everywhere right now and if every band did it as well as Nothing, I probably wouldn't roll my eyes at it the way I do. Perfectly heavy, spacey, and dark. A tight and accessible album that will surely be a great time capsule of punk in 2016.


I seem to be much higher on this album than all of my friends, kind of like how they were all way higher on Home, Like No Place is There. Goodness and HLNPIT are way more alike sonically than any other two albums in their catalogue, so I guess the reason that I like this one more is the songwriting. Imagine that. The last song on this album kills me.

Childish Gambino- Awaken, My Love!

I'll be honest, Childish Gambino's music up to this point has done nothing for me. I've tried to get into it because of how much I appreciate everything else that Donald Glover has done, but I just couldn't. The short film that he made hinted at a direction that I would enjoy and that change happened this year with the combination of his TV show Atlanta, which is 100% my favourite thing I watched this year, and this album. I love seeing artists take gambles like Glover has this year. He's making things that are unexpected, biting, and important and I couldn't happier about it.

Daniel Romano- Mosey

Easily his best solo effort since Sleep Beneath the Willow. This is a huge change in sound, dabbling in some of 60's more obscure musical styles like, big band pop, and further showcases that DR can basically work in any genre he chooses to.

Diarrhea Planet- Turn to Gold

I only started listening to Diarrhea Planet this year. They have the best band name of all-time. A band that's equal parts Van Halen and punk with four guitar players? Bud, it sounds like drew it out of my skull.

Har Mar Superstar- Best Summer Ever

I only discovered who Har Mar Superstar is this year. Apparently that was a trend in my listening this year? I didn't notice. He also came up in the book Army of Lovers, which I was reading shortly after finding out who he is. This album is a fun cross-section of R&B and dance music since the 60's. "Anybody's Game" is especially great.

John K Samson- Winter Wheat

I have accepted that I will not like John K Samson's current output as much I love the Weakerthans. Now I listen for the stories, as his songs have turned much more into fiction set to song. This album provides that in spades. Also, all of his songs about the mundaneity and frustrations of post-grad studies KILL ME.

Young Thug- Slime Season 3

2016 was pretty light on rap for. Young Thug continues to be the most interesting and innovative person in trap.

LVL Up- Return to Love

I saw LVL Up in 2014 and, to be honest, they didn't do tons for me, but this LP is wonderful. I get a big Neutral Milk Hotel vibe from their arrangements and melodies, except they're done with fuzzy guitars instead of acoustic instruments. Great catchy indie rock.

The Frightnrs- Nothing More to Say

I find it frustrating that there is so little contemporary ska music that I connect to, because there is nothing I would love more than to keep supporting good bands who work in the genre. This is the only ska record from this year that I really connected to. It's refreshing to see a band who isn't the Slackers or Deals Gone Bad work in older 1st Wave styles and even more refreshing to see them use old-style production. A great rocksteady release, it's the small stuff in the songs that makes them great.

TUNS- TUNS

I saw TUNS play a short 3-song debut set earlier in the year and wondered what their recorded output would be like, given the members' pedigree. This release is exactly what I wanted: Tight, to-the-point power pop that is heavy on jangle and melodies.

Japanese Breakfast- Psychopomp

To be honest, I forgot this came out this year, but I did listen to it a lot in the front half of the year. Great spacey and synthy shoegaze.