I’ve said this before but there are certain records that I’m so into that I find it hard to articulate properly within these pages so, more often than not, those records remain as an unfinished draft or at least saved for a year end list. Then there are those that are out and available for the masses that I don’t feel the need to type about after the fact because who needs a critic’s take when it’s out for all to consume???
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It’s mind boggling to me to hear a record like White Noise Owl’s debut full-length, Condition Critical, think of how much work was put into it and then have it more or less dumped on the unsuspecting masses with barely a peep of promotion. But these are strange times we live in, kiddies, where crap is rewarded and creativity is smothered.
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There are some artists out there that, regardless of hearing a note, when news of new music is announced then you just know it’s gonna be good. With only a few releases to their name so far, War On Alexandria is quickly becoming one of those bands and on their newest single, “Grip (The Heavy One)” they go beyond simply delivering on expectations.
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Normally when I go into a review of something new from Child Bite I like to have a tab open with synonyms ready for terms like “frenetic” and “cacophony” because, in most cases, that’s the kind of music fans get from the Detroit outfit. But lo and behold, here we are with their fifth full-length and the metamorphosis from simple Noise anarchists to this bewildering behemoth of rawkin’ riffs continues to arouse and astound.
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Late the other night I started in with this stream of consciousness intro to this review where I was going to talk about my personal history with Rob Potylo. From the time a former friend got in trouble at work for playing “I Put A Baby In You” by his alter ego, Robby Roadsteamer, in my honor after learning that bostonregina and I had a baby on the way to getting to experience the misunderstood genius of Potylo in person years later when I found myself working at a different company in a brick and mortar-type establishment once again as Rob worked in the warehouse making frequent deliveries to the store I was in. I actually have a framed hand-drawn picture from Potylo adorning the wall of my Man Cave (Read: Comic Book Room) depicting our time together at that place.
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We looooooove supporting local artists whenever we can. We especially love supporting local artists when they make music as incendiary as BEDTIMEMAGIC do. On Pillow Talk, out on November 8th, the Boston noiseniks concoct an opus that furthers their sound and statement while simultaneously bludgeoning as many earholes as (in)humanly possible along the way.
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It’s doubtful you’ll find a more catchy single coming out of Boston this fall. And probably none as unique sounding as “Killer Petition” is either as this, ahem, killer single treads the Land of the Lost in the way it traverses between the oft neglected area somewhere between the end of ’80’s Hair Metal and the beginning of Grunge.
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Reviewing the latest from San Francisco’s Down and Outlaws is a bittersweet ordeal. On the one hand, there’s this record that epitomizes the heart and soul of Desert and Garage Rawk but on the other, it looks to also mark a coda to a decade long career as the quartet recently announced that their upcoming record release show on November 10th at Rickshaw Stop (Details here) will be their last of the foreseeable future. But hey, if you’re going to go out then an album like Gas Money is the right way to do it!
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Fans can thank The Cure-Alls’ guitarist Steph Curran and Johnson’s own cat, Ginger, for this rockin’ little ditty that’s just the latest in a slew of excellent new singles released since Talk Talk Talk dropped in 2018. Originally slated to be on an upcoming acoustic album by Johnson, the track was reconstructed after Curran heard it and recommended an alternate version for the full band. Ginger comes into play as the content of the song delves into life on the road and a yearning for stability.
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One of our most anticipated of the year arrived later than expected but is easily worth the wait. From the ashes of Type O Negative and, more accurately, Seventh Void comes the new project from guitarist/vocalist Kenny Hickey alongside frequent partner-in-crime Johnny Kelly on drums who reunite for Silvertomb and this monumental slab of Gothic Doom called Edge Of Existence that is sure to fill the gap left in your black hearts in a world without Peter Steele.
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