CALLING ALL ASTRONAUTS – Single Review: “Divided States of America”

British electronic goth punk rock band Calling All Astronauts have never shied away from writing provocative lyrics about the dark underbelly of politics, culture and society, and calling out authoritarians, fascists and racists as often and as loudly as possible. Drawing from an eclectic mix of genres and influences ranging from electro, alternative rock, goth, punk, metal, rap and dub step, the London-based trio create music that’s exhilarating, melodic, compelling and often in-your-face. Making this musical mayhem are vocalist/songwriter/programmer and producer David Bury, guitarist J Browning and bassist/keyboardist Paul McCrudden.

Since forming nearly a decade ago, Calling All Astronauts have released numerous singles and EPs, as well as three excellent albums – Post Modern Conspiracy in 2013, Anti-Social Network in 2016, and #Resist, which dropped this past June. (It’s hard to believe that nearly four years have passed since I reviewed their single “Life As We Know It”!) They’re now set to release one of the tracks from #Resist – “Divided States of America” – as their 19th single on September 18th. The single, being released via Supersonic Media, is a scathing attack on the current political situation in the U.S. As someone who loathes President Donald Trump and what’s become of the Republican Party that’s enabled him (not to mention the millions of delusional Americans who still support him), this song strongly resonates with me.

Musically, the song features a powerful punk-style dance beat that gets our blood pumping and emotions appropriately riled up. Paul McCrudden’s throbbing bass line is deliciously heavy and deep, pummeling our senses as he drives the rhythm forward like a battering ram, while J Browning lays down a swirling deluge of grungy guitars, punctuated by some nicely-placed stabbing chords. With his characteristically gruff vocals, David snarls the blistering lyrics with a venom that reflects my own sense of outrage and despair.

Society falling in a downward cycle
We checked it’s pulse, it’s signs ain’t vital
Decay. Decline. Sodom and Gomorrah
No matter what they tell you, there’s no tomorrow

Divided States of America
Didn’t know what they were voting for
Divided States Of America
Shut down, locked down, close the door

Two percent looking down at the rest
And the guy in the store wears a bulletproof vest
White folks offended by “Black Lives Matter”
But it ain’t their kids, whose blood is getting splattered

Divided States of America
Didn’t know what they were voting for
Divided States Of America
Shut down, locked down, close the door

Men in suits, above the law
Another refugee pushed against the wall
“The country’s fantastic, we’re doing great”
The President declares a De facto State

Divided States of America
Didn’t know what they were voting for
Divided States Of America
Shut down, locked down, close the door

For the single version used in the video, David’s three-year-old daughter Daisy is heard talking at the end. Engineer Alan Branch (NIN, Depeche Mode, U2) was mixing the track and asked David to record a straight version of the chorus for the end. As Daisy heard her daddy doing the lines over and over, she proceeded to run round the studio singing the chorus, whereupon a mic was quickly handed to her and she happily contributed a few words.

Here’s the slightly longer album version of the song:

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THE TRIMS – Single Review: “Bending Time”

The Trims

San Jose, California-based indie post-punk band The Trims have been making great music for ten years now, and were one of the first bands to follow me on Twitter back in 2015 when I was an unknown blogger with only a handful of followers. Accordingly, they were one of the first bands I featured on this blog, and I’ve written about them a few more times since then, most recently in February 2018 when I reviewed their outstanding album Julian Street. This past December (2019), they released their latest single “Bending Time“, which I’m finally getting around to reviewing.

The Trims were founded by singer-songwriter and guitarist Gabe Maciel, who sought to “trim” out all the bad music he was hearing on the local music scene by writing good songs with catchy, groove-laden melodies, exciting instrumentation and relatable lyrics. Their sound draws influences from the likes of Joy Division, The Cure, The Doors, The Strokes and The Killers, but is uniquely their own. Like many bands, The Trims has seen several changes in lineup over the years, and now includes Maciel on vocals & guitar, Billy Brady on drums, Jerry Lozano on guitar, and Frank Hernandez on bass. Through their on-stage charisma and high-energy performances, they’ve built a loyal fanbase in the San Francisco Bay Area and beyond.

The influence of Joy Division and The Cure are immediately evident on this track, with a brooding bass-driven melody, thumping drumbeats and mesmerizing guitar runs. The Trims sound better than ever, with an impressive command of their respective instruments. Hernandez’ nimble bass line and Brady’s assertive drumming establish a solid rhythmic foundation, over which Maciel and Lozano layer a tasty mix of guitar textures, including a terrific surf guitar that adds tremendous color and depth to the song. I love Maciel’s clear, resonant vocals as he croons the lyrics that speak of a relationship that’s falling apart. He sings of being unable to reason with or break through to his partner as he tries to salvage their relationship, describing it as impossible to accomplish as ‘bending time’ itself:

You tell me it’s over, well that’s your point of view
Foolish and lonely, I wait around for you
I lie and lie and lie awake praying for your call
Foolish and lonely with nowhere left to fall
It’s like bending time

“Bending Time” is a great song, and yet another in an unbroken string of solid tunes from The Trims, who continue to deliver on their mission of crafting high-quality music. Those fortunate to be in the San Francisco Bay Area can catch them at one of these upcoming shows:

2/15/20 – The Branham Lounge, San Jose
3/13/20 –  Jam Cellars, Napa

Connect with The Trims: Facebook / Twitter / Instagram
Stream their music: Spotify / Soundcloud / Apple Music
“Bending Time” may be downloaded for free on their website

ASHRR – Single Review: “Sacrifice”

ashrr-sacrifice-final

Though a relatively new band formed just last year (2018), Los Angeles-based ASHRR collectively have a long and impressive music pedigree. Comprised of singer-songwriter Steven Davis and artists/producers Ethan Allen and Josh Charles, the accomplished trio have a seasoned and eclectic musical background, combining their wide-ranging experience and diverse stylistic influences. Davis has headlined at the famed Rainbow Room, sharing the stage with Diana Krall and Tony Bennett, co-written songs with pop legend John Oates, and had his music featured on several TV shows and films, including Criminal Minds. He’s released numerous albums, including his jazzy, easy-listening What Happened to Romance and This is Christmas in 2015, a collection of great standards The Way You Look Tonight in 2016, and his tribute to 80s pop-rock classics Departure in 2018.

Allen is a record producer, mixer, engineer, writer, and multi-instrumentalist musician originally hailing from Austin and New Orleans. His credits include Black Rebel Motorcycle Club, Ben Harper, The 88, Tricky, Luscious Jackson, The Cult, Gram Rabbit, Sheryl Crow, Tim Finn, Brant Bjork, Donita Sparks, Meg Myers, Patty Griffin and Better Than Ezra, as well as many licensing placements in film and television.

Charles is a critically acclaimed piano prodigy, guitarist, singer, producer and songwriter, mentored by the legendary Dr. John. He has recorded for Columbia Records/Sony Music Entertainment, Island Records and Elektra Records/Warner Music Group, and has produced/co-produced and written/co-written seven albums, including his own Love, Work & Money (2010) and 1974. He’s also produced exclusive sound content for Native Instruments and Splice, and has had many of his songs played on radio, film and TV, including several cuts with the aforementioned John Oates.

ASHRR2

ASHRR joined forces after meeting through mutual musician friends, seeking to collaborate to create the kind of music they all wanted to make. Charles explains “Our collective love of analog synth pop, classic new wave melodies and songwriting, and taking modern production to the limits, defines us. We all come from different backgrounds, which is what can be heard inside the music.” Their sound is strongly influenced by Joy Division, Depeche Mode, Talking Heads and LCD Soundsystem, among others.

In October 2018 they released their first single, the captivating “Don’t Wait Too Long”, which premiered at NPR.org and garnered regular airplay on famed Los Angeles alt-rock radio station KROQ. They dropped their self-titled EP ASHRR a few months later, then followed this past May with their debut full-length album Oscillator, which contained all the tracks from their EP, plus five new tracks. In October (2019) they released a stellar new single “Sacrifice“, which I’m reviewing today. The song was co-written by all band members, vocals were sung by Davis, and instruments played by Allen and Charles, except for Blair Sinta on drums and Grant Curry on electric bass. Allen and Charles produced the track, which was then mixed by Allen and mastered by Dave Collins.

The uplifting song seems to me to be about looking back on one’s life, realizing that all the hurdles we faced, all the pain we may have experienced, were worth going through to get where we are now, to be the better person we’ve become. Davis’ rich, beautiful baritone vocals are backed by a dreamy soundscape of sweeping orchestral synths. Sinta and Curry provide a mesmerizing rhythm accompaniment with their jubilant percussion and resonant bass lines, respectively. It’s a gorgeous song.

The rain it will come
And the wind it will blow
You wanna stay true
Don’t forget what you know

Haunted with memories
Blinded by noise
Too much to take
A crack in the voice
You lost the hope in your eyes
Was it worth the sacrifice

Preachers preach
Poets rhyme
The years tick slowly out of time
Angels watch while devils stare
We took the poison without care
The ferryman will name his price
We all know the sacrifice

Innocence is all you have when you are young
Darker days have come to pass
And we are stronger
looking back now
on all those dreams denied
It was worth the sacrifice

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Purchase:  iTunesGoogle Play

A MILLION RICH DAUGHTERS – Album Review: “Hidden Parents”

A Million Rich Daughters

Today I’m happy to introduce my readers to a terrific band with an equally terrific name: a million rich daughters. Hailing from Chicago, they play an interesting and totally unique style of, in their own words – “garage/industrial/horror inspired alternative post-punk – music that transcends the typical boundaries of the observable universe.” That sounds about right. The band was founded by brothers Brett and Jake Grant, with Brett on vocals, guitars and synths, and Jake on drums. They were later joined by Matt Clepper, Rene Gutierrez and Taylor Ford, and just released their new EP Hidden Parents, which dropped November 15. After recording the album, Gutierrez and Ford left the band, and were replaced by bassist Josh Victor. Brett also has a solo project under the moniker brett.grant.5, and released his own EP disqui.etude this past June (which I reviewed).

The first track “Hitting Backspace” is a reworking of a song that was originally featured on disqui.etude. This time the mesmerizing track has been expanded by more than a minute, and gets a heavier full-band treatment. Starting off with moody, throbbing synths and shadowy bass chords, the music gradually builds into a spine-tingling crescendo of swirling jangly and psychedelic guitars, accompanied by harsh industrial synths and a deep, thumping percussive beat. Brett has a quirky, distinctive singing voice, and here he sings in a kind of plaintive monotone that grows more dramatic as the music intensifies. His vocals perfectly express the desperate feelings of being buried alive by the staggering weight of one’s problems:  “It wasn’t like I anticipated facing all this in the time since yesterday. Sands keep falling. Feels like I’m slipping away, and trapped hitting backspace./ It wasn’t like I could keep up pacing, keep up pacing through the sands of yesterday.”

The next track “Love Me After” is a feast for the ears, and possibly my favorite on the album. It begins with an enticing mix of plucked guitar strings, delicate snare and a delicious little bass riff that really does it for me. Then a thumping drumbeat ensues, punctuated by jarring jolts of what sound to me like intensely amplified guitar chords. As Brett’s vocals enter the proceedings, the music explodes with equal measures of heavier guitars, synths and percussion. Brett passionately laments of a relationship heavily damaged by a long history of hurt and verbal abuse, yet still holding out hope that perhaps it can be salvaged: “Just like you said, I’m as good as dead, yet you call my words slander. One day we’ll break these goddamn mistakes. Maybe you’ll love me after?” The wailing guitar solo after the final chorus is wonderful.

Melancholia” is a bit of a musical tour-de-force, as it takes us on a delightful four minute long sonic journey. The first part of the song features a frantic punk rock tempo, with rapid-fire riffs and pummeling drumbeats, all anchored by a killer bass line. At around 2:30, the song transitions to a languid, synth-driven melody, with crisp percussion and that lovely bass taking center stage. Eventually, the frantic punk vibe returns in the final chorus for a great, head-banging finish. The lyrics seem to be about not allowing yourself to be defeated by depression or the oppressive forces imposed upon us by others, and to instead speak up and fight for one’s rights: “If you feel like you’re captive in a boat with no captain, speak up! Well I can’t just forget it, and I’ll always regret it, come on. Melancholia’s passion is a pit of distraction, come on. Now we’ve lost all our assets and we can’t pay for access, speak up!

Truth Be Told” is another track from disqui.etude that’s given a fuller instrumental treatment here, with spooky synths, muscular thumping drumbeats and intricate layered guitars. The stabbing guitar chords add a dramatic touch to the mix to great effect. I think this remake nicely enhances the impact of the haunting lyrics that speak to feelings of misery and guilt over the death of a loved one. Brett’s heartfelt vocals are really moving as he sings “Truth be told, I never thought that you’d be dead. Truth be told, I just can’t get you out my head. Truth be told, I’ve been obsessing for so long, I’d give anything to write a different song. Truth be told, I should’ve been the one to go. Truth be told, this burden’s getting hard to hold.

A million rich daughters dial the energy back up with “Possibly a Problem“, delivering furious riffs of jangly guitars and hard-driving rhythms. My take on the song’s meaning is that it’s about how as more aspects of ourselves and our past are revealed in the early stages of a new relationship, we fear the other may lose interest in us, given our shortcomings. In this case, alcoholism appears to be the possible problem: “Lost so many to elixir, don’t you disappear. I just want to make sure, if I’m sick again, be my cure. Possibly a small problem, but I just want to be your man.

The title track “Hidden Parents” has a wonderful electro-psych rock groove, and I love the haunting lead melody. Once again, there’s a lot going on here musically speaking, with numerous tempo and melodic change-ups. At times the song has an 80s new wave vibe, only to later veer headlong into frenetic punk rock beats. Backed by dark, sweeping synths and aggressive rhythms, the intricate, multi-textured guitar work is fantastic. Brett’s distant, echoed vocals convey a vulnerable sense of desperation as he seems to be asking for forgiveness for the wrongs he’s done: “Oh things, have changed, the damage done. Oh look, at what, I have, become. Now I, am lame and most probably not sane. There is, no me, no in-between. There’s still, one thing, I want, to do. And what, I want is to get a little closer to you. Oh it’s always for you.”

I must admit that this was one of the most challenging reviews for me to write in my four years of doing this. Despite having only six tracks, there’s a whole lot to unpack in each song. Not being a musician, and having no music ability nor training of any kind, I sometimes have a difficult time articulating what I’m hearing. Hidden Parents is an experimental work, teeming with unconventional, ever-changing melodies, deep, often abstract lyrics, and loads of innovative, complex instrumentation that give it a compelling and fascinating sound. Indeed, Brett himself told me the album “is fucking weird; there’s a lot going on technique-wise in the music theory, as well as a lot of layers.” That’s for sure, and while it might not be everyone’s cup of tea, I think it’s brilliant.

Connect with AMRD:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / iTunes / Google Play

SABOTEURS – Album Review: “Dance With the Hunted”

Saboteurs album art

Saboteurs is a rock band from Lincoln, England who (in their own words) “play trans-genre songs about badgers, constellations and other things which creep into our lives during the night.” Fusing elements of alt-rock, grunge, post-punk, metal and folk, they create hard-hitting music that thrills and surprises our ears and minds.  Like many a band, they’ve experienced some personnel changes since forming, and now consist of Ben Ellis (lead vocals/guitar), Rick Whitehead (lead guitar/vocals), Kirsty Marlog (backing vocals), Geoff Standeven (bass), and Pete Botterill (drums), although for the album Dance With the Hunted, drums and percussion were performed by Hamish Dickinson, who also handled production, mixing and mastering.

The band released their self-titled debut EP Saboteurs in 2018, immediately attracting a growing base of fans and recognition by BBC Introducing, as well as being named Richer Sound’s Artist of the Week and finalists in Radio Wigwam’s Rock Act of the Year. But shoulder surgery for lead guitarist Whitehead led to unrest in the band and, ultimately, a violent split with the rhythm section. This caused the band’s songwriters Ellis and Whitehead to sink into a dark place, which actually provided them with needed impetus for an explosion of new material that would become their first full album Dance With the Hunted, which dropped on May 4th.

The opening track “Splintered” reveals the intensity of their feelings while writing the songs for the album. The biting lyrics speak to a bitter breakup of a relationship, delivered by Ellis’ fiery vocals: “The pain – I dedicate our loss to you. The shame will never end but I’m coping on my own. The ones I left behind – they just fade out. If I fall down, I won’t stay down. If you fall down, you will stay down.” The roiling riffs of grungy guitars, pulsating bass and thunderous drums are fantastic.

Next up is “Over and Doubt“, a moody but gorgeous track that leaves no doubt that these guys know a thing or two about crafting superb songs with the power to inspire and move the listener. And I’ll state right here how much I love Ellis’ vocals, which in addition to his and Whitehead’s spectacular guitar work, are one of the strong points of Saboteurs’ overall sound. He’s one of the best rock vocalists around today, in my opinion, with an incredible tone and range that give him the ability to comfort us one moment, then chill us to the bone the next. When he plaintively wails “Please stay with me, over and over again!“, we really believe him. On this track he sounds a lot like Steve Kilbey of The Church. Musically, the song features a complex, ever-changing melody that keeps us enthralled from start to finish, and the guitar work is outstanding. It’s one of my favorite tracks on the album.

The dark and moody vibe continues with “Believe Nothing Hurts“, but presented here with an exhilarating fast-paced rhythm and chugging riffs of gnarly guitars. Ellis angrily snarls the searing lyrics condemning someone for their duplicity: “This time, believe nothing hurts. Oh, your lies. As they come in they’re drowning now in your own sweet precious melody of lies.” “Break Down” is a lovely, incredibly melodic song with a 1990s vibe that, to my ears, calls to mind songs by the Goo Goo Dolls, Gin Blossoms and Deep Blue Something. The strummed guitar is a great addition, providing a wonderful added texture of sound. The backing vocal choruses by Miles Kent and Kirsty Marlog are especially nice.

Marooned” is a big, arena-worthy track, with lush, layered guitars and a torrent of bombastic percussion. But it’s the deep, pulsating bass that plays a starring role here, giving the song a massive U2 vibe. In fact, Ellis’ vocals sound a bit like Bono on this and a few other tracks. He passionately sings of emotional hurt that can never be undone: “Broken red skies are endless. The reason I guess why you left me here. They look like the old wounds you can’t suture. They are the scars of time.” On the poignant, hard-rocking “I Think My Face Hates Me“, Ellis sings of his feelings of hopelessness: “I’ve been lying on the floor just eating time. Pretending there’s no light behind my eyes. I’m going home or I’m going down. Every day I am reborn in the skin I’ve had before.

The guys keep delivering compelling lyrics and killer riffs with “One Track Mind“. The protagonist acknowledges his need to change his ways: “What would it take to be the better man? To say, ‘Yes, I can – I’ll never let you down’. Constant mistakes – pathetic apologies. Want to effect a change and make it alright.” But then he bitterly resigns himself to the fact that while he’s the one who must change “I kill the doubt inside and learn to play your game.“, others will not: “You all stay the same.

The title track “Dance With the Hunted” is about a rock star whose fame has not brought the happiness and contentment he’d hoped for. Instead, he lives a miserable, self-destructive life: “The spotlight I always craved keeps pulling me back but there’s no light behind these eyes./  Is art ever worth the pain? To watch you die on centre stage for fifteen minutes of shame.The disappointment never ends.

Traces” is one the darkest tracks on the album, with trace elements (no pun intended) of metal, giving it a heavier vibe. The song opens with a mesmerizing guitar riff, then expands with a powerful melange of intricate guitars, throbbing bass and hammering drums. The lyrics speak of someone tortured by their past and possible mental illness, desperate to escape their surroundings in the hope of starting over fresh: “There are traces of the old times. Like battle scars in my mind. Only the world to me. Turn the lights out – leave this home. Wherever the white lines take us.” Backing metalcore growls by guest vocalist Jamie Armstrong add an extra layer of gritty texture to Ellis’ raw vocals, to great effect.

The final track “Willows” closes out the album on a gloomy note, speaking of a couple whose relationship is so damaged by hurt and pain, it may be beyond salvation. In vocals that really seem to channel Bono, Ellis passionately wails “Skin so thin, so thin it bleeds right through you. And we blame ourselves, don’t you blame yourself too? Walking wounded – in a black wind. Take me to the place where the willows grow. Write down everything that hurt us so. Everything we never said.” As always, the instrumentals are hard-hitting, with furious riffs, crushing bass and tumultuous drums.

Dance With the Hunted is a heavy, emotionally-wrought album to be sure – there are no upbeat love songs here! But it’s a beautifully-crafted work, with deeply compelling, heartfelt lyrics, gorgeous rock melodies, and magnificent instrumentals. Every track is superb, with no filler or throwaways. If you like some of the aforementioned bands I discussed, you will enjoy the music of Saboteurs.

The beautiful original album artwork was designed by Anita Inverarity.

Catch Saboteurs at one of these upcoming shows:

Saboteurs concerts

Follow Saboteurs:  Facebook / Twitter / Instagram
Stream their music on Spotify / Soundcloud / YouTube
Purchase on Bandcamp / Google Play

SECOND PLAYER SCORE – Album Review: “Glorified”

Second Player Score Glorified

Second Player Score is a terrific rock band based in Vancouver, Washington (located across the Columbia River from Portland, Oregon), and nice guys too. They play hard-driving, melodic music they humorously refer to as nerd punk, influenced by two of their favorite bands Green Day and Bad Religion. Making the music are Brian Tashima (guitar, lead vocals), Daniel Downs (bass, backing vocals) and Kyle Gilbert (drums/backing vocals). The guys released a fine debut album Fortress Storm Attack in late 2014, and followed up two years later with the monumental Nobody’s Hero (which I reviewed in July 2017). They’re now set to release their third album Glorifed on June 21st via No Pants Records.

Like Nobody’s Hero, Glorified is another concept album. Band drummer Gilbert explains, “The heroine of the story is a woman named Gloria. She was raised to be the best soldier of her generation, and ends up fleeing her oppressive hometown and reluctantly helping people as she traverses a post-apocalyptic wasteland in search of answers about her past. The story is similar to other stories like the latest Mad Max and Alita Battle Angel.”

Eye of the Needle” kicks off the album in a big way with an onslaught of chugging, gnarly riffs. crushing bass and tumultuous percussion. As Tashima shreds his guitar nearly to bits, he fervently sings the lyrics spoken from Gloria’s perspective, in which she comes to the realization that she can’t take any more of the oppressive bullshit she’s been living under: “I’m always such a good little soldier, following your every command./ But I don’t need this anymore./ Cause now I see just how sweet it is to be living free of all your drama and your sorrow. I don’t know why it took so long to go. But I’m finally looking forward to tomorrow.” He then lays down a scorching-hot riff while Gilbert beats the crap out of his drum kit. These guys know how to rock!

Next up is the hard-driving “Ragged Town“, which sees Gloria bitterly decrying her town and the people who live in it: “One day you’ll see reality lies somewhere out beyond this ragged town./I hate you now, I always will. You’re like the ones I love to kill. But tonight you’ll be my clown. Something’s wrong, something’s amiss. I don’t know why I feel like this, but burning scars have worn me down.” The guys deliver more of their signature furious riffs and aggressive rhythms, providing a thunderous backdrop for Tashima’s impassioned tirade.

They slow things down a bit on “Broken Ecstasy“, though it’s still a great rock track. We now find Gloria addressing her broken spirit, not knowing exactly what’s next for her, nor where she’ll go: “Don’t ask where I’m going to go. I said that I do not know. Don’t analyze or fantasize. Just relax and enjoy the show./ Be sure that you comprehend there is no goal, I have no soul. On that you can depend. I don’t want to see your face. We’re all just a big disgrace.

The guys dial it back up to full throttle on “Liberty’s End“, with chugging riffs of fuzzy guitars, heavy bass and speaker-blowing drums. Gloria laments about her shitty world and wanting to escape both it and herself: “Don’t you know the world cannot be saved. With good deeds the road to hell is paved. I just want to live my life for me, and wallow in my pit of apathy. Hello, I’m running from liberty’s end.” Brian makes great use of the talk box in the bridge, providing another texture of sound to the track. The amusing video shows the guys’ playful side, as they act zany in scenes of them running a race, interspersed with them performing the song in a garage.

Gilbert’s fantastic pummeling drums are a highlight on “The Last Trigger“. Wow, this man is a beast on his drum kit, giving new meaning to the term “power drummer”! Tashima’s scorching guitar and Downs’ powerful bass are pretty damn amazing too, as are their vocal harmonies. “Shiny Rebellion” sees Gloria confronting her oppressors and vowing to lead the fight to defeat them: “See I know that underneath your fancy crown, is a skull that’s full of nothing but decay. So I go, cause I can’t take this lying down. I’m a leader in the war against your way.”

The guys continue on their sonic rampage with the hard-driving “Into the Ruins“, in which Gloria assesses the wasteland before her: “Welcome to the ruins of a paradise gone wrong”, and the dark”Desolation“, with its tortured riffs, grinding bass and blasting drumbeats. Tashima snarls the bitter lyrics spoken from Gloria’s point of view: “And I don’t care how much you might stare now. It doesn’t matter anymore. No. Cause I don’t care now!” “More Than I Can Give” starts off like a heavy metal ballad, then explodes into a storm of frantic riffs and rapid-fire drumbeats, with a melody that reminds me a bit of Green Day’s “Bang Bang”.

On “Long Road Home” Tashima really shows us what he can do with his guitar, delivering killer riffs that set the airwaves afire, while Downs aptly lays down a bass line so heavy we feel it in our cores. And it goes without saying that Gilbert nearly blows our speakers with his frenzied drumming. The lyrics speak to Gloria’s determination to stand up and fight in her lonely mission to defeat the evil forces: “When this all started I fled and I ran. Now I must finish what they all began. I understand your master plan. Nothing can stop me when I’m all alone. I’m going home to claim your throne.” “Death and Glory” is a continuation of Gloria’s plan to vanquish her oppressors once and for all: “Now this time you’ve gone too far. It doesn’t matter where you are. I’ll be coming after you. You won’t even have a clue./Cause I am here to end your story. Drown your fear in death and glory. Close your eyes, this might get gory tonight!

They close the saga and album with “Some Of Us Were Meant To Be Alone“, an eight and a half minute long epic that ties things up without an actual resolution or happy ending. To a somber, gritty guitar riff, Tashima sadly wails: “There’s nothing left to say. I don’t know why it has to be this way. There’s nowhere left to go. I didn’t think that time would fly so slow. I hate to say the answer’s still unknown. Why some of us were meant to be alone. I’m giving up it’s true. Sometimes that’s all I ever want to do. I know it isn’t fair. I wish I could forget I even care.” At around 3:40, Tashima begins shredding his guitar and Gilbert pummels his drums at full blast to the same forlorn, start-stop melody as before.  Then, at 5:39, the song erupts into a fury of shredded and distorted guitars, pulsating bass and hammering drums that continue to the end. It’s a breathtaking finale to another monumental album from this badass band!

Track listing:
Eye of the Needle
Ragged Town
Broken Ecstasy
Liberty’s End
The Last Trigger
Shiny Rebellion
Into The Ruins
Desolation
More Than I Can Give
Long Road Home
Death And Glory
Some Of Us Were Meant To Be Alone

Here is a link to the email list sign up that will provide a free download to the full Glorified album:

https://t.co/dqu9CcdeGF?amp=1

Connect with Second Player Score: Facebook / Twitter / Instagram
Steam their music: Spotify / Soundcloud / Reverbnation
Purchase: Bandcamp / iTunes

DOCTOR GONZO – EP Review: “PhD”

Doctor Gonzo Phd

Doctor Gonzo is a four-piece punk ska band from the Brighton area of Sussex, UK. They’re all about having fun and not taking themselves too seriously, but are very serious when it comes to making straight-up badass rock! Formed only a year ago, Doctor Gonzo consists of Ash Miles on vocals, Andy “Gibbo” Gibson on guitars and backing vocals, Tony “Tig” Tugnutt on bass and Louis Maxwell on drums. In late April, they dropped their debut EP PhD, featuring four boisterous bangers guaranteed to kick your ass!

The EP blasts open with “Poisonous”, a blistering-hot tune with heavy, chugging riffs of gnarly guitar, crushing bass and hammering drums. Ash’s urgent vocals ooze bitterness as he snarls the lyrics addressing someone who’s toxic to his existence: “In my veins, sucking the life out of me. Filled with pain until there’s nothing left. Pulsing through me with your liquid venom. You won’t stop ’til I take my last breath! Oh!

Before we can even come up for air, the guys are back pummelling our eardrums with “Something’s Gotta Give”. Man, can these guys rock, once again delivering frantic riffs of fuzzy guitars and throbbing bass, while Louis beats the living fuck out of his drum kit! Next up is the rousing “Mary Jane”, the fantastic lead single from the EP.  It’s a delightful love song to a woman named Mary Jane, set to a hard-driving beat and the band’s signature barrage of thunderous instrumental mayhem. The lyrics are fairly simple but charming: “Mary Jane I let you take my breath away. Remember that time I took you on an aeroplane? Oh Mary Jane, I think you’re driving me insane. But when shit hits the fan I know you’ll make me feel better.” The whimsical and fun video for the song was written, directed and edited by Nick Burdett.

The final track “Royalty” serves up more hard-hitting post-punk goodness. Gibbo does some fine shredding on his six-string while Tig lays down a deep, strutting bass line and Louis pounds out the driving beat. The lyrics speak to feeling like a loser in a rut, going nowhere: “I tell myself to stop complaining. Learn to read between the lines. I wanna be somebody, instead of just a casualty. I’ll go against the grain. You’ll probably know my name. I wanna live like royalty.”

Despite it’s short run time of only 12 1/2 minutes, PhD packs a mighty punch. These guys know how to rock and set the airwaves afire with their respective instruments. I found myself loving these songs more with each listen, and am now a huge fan of Doctor Gonzo. I also love their playful sense of humor, which is strongly evident in this hilarious video of outtake bloopers from the making of the “Mary Jane” video:

Connect with Doctor Gonzo:  Facebook / Instagram
Purchase on iTunes / Google Play

THIRD TIME LUCKIE – EP Review: “Face the Beast”

Third Time Luckie EP art

A month ago I featured British alternative pop/punk band Third Time Luckie on this blog when I reviewed their beautiful single “Love and Violence”. They’ve now dropped a new EP Face the Beast, which I have the pleasure of reviewing today. Originally formed in 2006, the band had early success, releasing two EPs and an album, but eventually disbanded in 2014. Fortunately for us, founding members Chris Horner (guitar & vocals) and Carl Swietlik (drums) decided to give it another go, and Third Time Luckie was reborn an older and wiser trio in late 2016 with a new bassist Andy Clare. Based in the southern England resort town of Bognor Regis, Sussex, the band’s high-energy style of melodic pop/punk rock is strongly influenced by some of their favorite bands like Blink-182, Green Day, Alkaline Trio and Sum 41.

Face the Beast features five stellar tracks, including “Love and Violence” and some other previously released songs. Green Day’s influence can clearly be heard on the first cut “The Grind“, with a frantic riff that’s strikingly similar to the main riff in “American Idiot”. The guys follow through with more electrifying guitar solos of their own, along with a driving bass line and thunderous drums that make for an exhilarating song. The lyrics speak to escaping a soul-crushing rut in a boring town, and making a change for the better: “And so, we all stick to the grind. And so, something gets left behind. Go do what you like, cause my mind’s made up now. And so, fuck you, I’m leaving this town.”

That Day” is a reworking of a song the band originally recorded back in 2008. The upbeat song is a rousing pop/punk ode to a woman he loves, recalling the day he met her: “I remember that day so clearly. It’s stuck down in my head. I get the warmest feeling lying next to you in bed. The grass is always greener when you are around.” The anthemic “Never Alone” is a song of encouragement to someone suffering from depression. Chris does some fine shredding on his six-string as he fervently sings: “You found your way, your way back to our lives. You found your way, your way back to our hearts. All the while you were lost in the smoke. We were there too, and you were never alone. / You can push back and fight it. Or face the beast and ignite it.” Andy and Carl keep the rhythm with a solid bass line and a cascade of tumultuous percussion.

The poignant “Love and Violence” is a plea from one partner in a fraying relationship to another, urging her to stay with him and try to work out their problems. The words “love and violence” represent the highs and lows – the good times and bad – of a relationship. “Stay with me now cause I know we’re forever. And evermore it’s you and I in love and violence.” The guitar work is fantastic, and Chris’s pleasing vocals sound great whether he’s earnestly crooning the calmer verses or passionately wailing the dramatic choruses. The guys’ backing vocal harmonies are wonderful too.

The final track “Wide Eyed Thinking” was the first single the reconstituted band released in 2017, and it’s a real banger. The guys let loose here, unleashing a furious barrage of gnarly riffs, wildly crashing cymbals, and chugging bass. The song’s only two and a half minutes long, but it’s a beast. The lyrics speak to finally coming to terms with the reality of a toxic relationship that’s beyond repair: “Nothing I did was ever good enough for her. Wide eyed thinking, how can I get away? This ship is sinking, and I’ve been led astray from you. Now I sing a different tune.”

Face the Beast is a terrific little EP that showcases the strong songwriting and musicianship of Third Time Luckie. I’m impressed by these guys’ resilience, as well as their dedication to excellence, and I hope they continue making more great music for our listening enjoyment.

Connect with Third Time Luckie:  Facebook / Twitter / Instagram
Stream their music on Spotify / Soundcloud / Reverbnation
Purchase on iTunes

THIRD TIME LUCKIE – Single Review: “Love and Violence”

Third Time Luckie single art

Third Time Luckie – is that a great band name or what? – is a 3-piece alternative rock group based in the southern England resort town of Bognor Regis, Sussex. Formed back in 2006 by founding member Chris Horner (guitar & vocals), like many bands, Third Time Luckie has undergone some personnel changes in the intervening years, and now includes Carl Swietlik (drums) and Andy Clare (bass & vocals). Drawing influences from some of their favorite bands like Blink-182, Green Day, Alkaline Trio and Sum 41, they play a high-energy style of melodic pop/punk rock.

The band has recorded a number of fine tracks over the years, including their recent single “Wide Eyed Thinking” (you can check them out on their Soundcloud page). Their latest release is “Love and Violence“, a terrific song that will be included on their forthcoming EP Face the Beast, due out later this Spring.

Starting things off with a flourish of drumbeats, they quickly hook us in with an arresting guitar riff overlying a driving bass line and accompanied by a gentle drumbeat. The music then explodes into a stirring crescendo in the choruses, thanks to a speaker-blowing barrage of raging guitars, wildly crashing cymbals, and deep, buzzing bass. The guitar work is fantastic, and there are some nice piano keys in the final chorus as well, providing another texture of sound that makes for a really interesting and highly satisfying listen. Chris has a pleasing vocal style that sounds great whether he’s earnestly crooning the calmer verses or passionately wailing the dramatic choruses. The guys’ backing vocal harmonies in the choruses are wonderful too.

The poignant lyrics are a plea from one partner in a fraying relationship to another, urging her to stay with him and try to work out their problems. The words “love and violence” represent the highs and lows – the good times and bad – of a relationship.

Stay with me now
Cause I know we’re forever
And evermore it’s you and I in love and violence

Cry with me know
It doesn’t really matter
We’re living for today
Come on let’s run away

The guys’ skill at songwriting and crafting memorable melodies is strongly evident on “Love and Violence”, and they’ve got a bonafide hit on their hands. I really like this band, and am looking forward to hearing Face the Beast when it comes out.

Connect with Third Time Luckie:  Facebook / Twitter / Instagram
Stream their music on Spotify / Soundcloud / Reverbnation
Purchase on iTunes

OCTOBERS – EP Review: “Summer Waste”

Octobers EP

Octobers is an alternative/dream pop/postpunk band from British Columbia, Canada who formed in 2015. Comprising the band are brothers Nick and Joel Ellsay (guitar, synths, vocals), Hayden Shea (drums) and Liam Rhynolds (bass). They released their excellent debut Misfits EP that same year to positive reviews, also garnering airplay on indie and college radio stations throughout Canada and the U.S. The band went on a brief hiatus in 2017 after a few major life changes, but are now back and better than ever with a new EP Summer Waste.

The EP kicks off with the sunny and upbeat “California“. The song opens with a blast of drumbeats, then settles into a pleasing soundscape of chiming guitars, sparkling synths and a humming bassline that evokes images of a summer day at the beach. The pace quickens in the choruses with an exuberant jangly guitar solo and pummeling drums. The song lyrics seem to have dual meaning, with the singer possibly expressing his love for both ‘California’ a girl and the state: “Hey California. Something about ya. You are the sweetest sound. California, always did love ya. You’re the summer all year round.”

Sunshine” has the singer pondering the love that brightens his world: “Are you my sunshine? Are you my starry sky? Are you these glowing lights, cause you burn so bright.” I love the thunderous jangly guitars and percussion, and the Ellsay brothers’ vocal harmonies are really marvelous. The sunny vibes turn darker with “Be Still“, a heartfelt plea to a loved one to try and meet him halfway, and salvage their damaged relationship: “Just be still, don’t say a word, cause you’ve been talking all your life. The tables turned, now tell me what that feels like. / Lay down your gloves, I don’t wanna fight.” Once again, the guitar work is fantastic, and the rhythm section nicely complements with pulsating bass, thumping drumbeats, and lots of crashing cymbals.

Summer Waste ends on a positive note with “Higher“, a jubilant anthem about not giving up, and reaching as high as you can to reach your goals: “Once you start you never can stop. You go higher and higher and higher. Oh yeah!” Their jangly guitars on this track sound a bit like The Cure, which is never a bad thing. Overall, it’s a terrific little EP, with a title that could be misleading as it’s anything but a waste. The lyrics, while not necessarily deep, are honest and heartfelt, and the instrumentals are all outstanding, as are Nick and Joel’s sublime harmonies. Nicely done guys!

Connect with Octobers:  Facebook /  Twitter / Instagram
Stream their music on Spotify / Soundcloud
Purchase on Bandcamp / iTunes