Speak deliver sophomore album Pedals, musical heavens explode!


Listening through Speak’s sophomore album and I’m immediately transported to that scene in Back to the Future in which Marvin Berry is on the phone with his cousin shouting excitedly: “Chuck! Chuck, it’s Marvin. Your cousin, Marvin Berry! You know that new sound you’e looking for? Well, listen to this!”

Friends, if BTTF was remade today (Please gahd, don’t!) Speak would be that “new sound”. They absolutely sound like nothing out there today.  Part electronic, part Pop, part ’80’s throwback….however you choose to describe them, the sound they create on sophomore album Pedals is undeniably massive.

The minute “Gates” opens up Pedals listeners are instantly enveloped in that massive sound. It’s singer/keyboardist Troupe Gammage’s monolithic keys, Nick Hurt’s epic guitar solo, Jake Stewart’s percussive stomp…just everything about “Gates” is fantastic. And that’s just the first song! Later still, bassist Joey Delahoussaye lays down some funky lines that would make John Taylor jealous while “Oh Lord” has hints of The Faint somewhere within. Gammage, meanwhile, vocally treads a fine line between Vampire Weekend’s Ezra Koenig and Adam Levine during the more falsetto moments making the densely layered songs he writes even more interesting.

Think of Speak as a marriage of Vampire Weekend with Tears For Fears if you’re looking for comparisons. The best thing about Speak, though, is that once you think you have them figured out they go to the complete opposite end of the musical spectrum. The quiet, acoustic, instrumental “Weiss” segue’s perfectly into “This Much I Know” with bits of Country and even Gospel early in the album but then drummer Stewart gets to flex his chops on the march of “Heavy Metal War” complete with a horn section further in. It’s this kind of diversity from song to song that is truly the beauty of Pedals and Speak.

Pedals is out on June 24th. Pre-order yours on Itunes and Amazon now. But more importantly, head on over to Speak’s official website to see when you can catch them live on tour with Gemini Club and The Griswolds.

Bright Light Bright Light up the ante once again on Life Is Easy.

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Rod Thomas is back at it again as Bright Light Bright Light and inspired by some new friends (Sir Elton John, in particular, who appeared on the I Wish We Were Leaving EP earlier this year) on his sophomore stunner Life Is Easy. Expanding the Bright Light Bright Light sound even further this time around, Thomas ups the dance and synth quotient considerably making Life Is Easy an easy contender for “Club Album of the Year” (Is that even an award?).

“There Are No Miracles” invokes the spirit of Pet Shop Boys just starting out in 2014. “I Wish We Were Leaving” pairs Thomas with Sir Elton on a beats driven track with an expansive electronic soundscape which further accents the pure chemistry when John’s and Thomas’ voices mesh. “An Open Heart” is this gorgeous synth-heavy jambalaya of sonic awesomeness that’s sure to get your ass out of your seat and dancing around your house or office like a maniac (Pair this with Maximo Park’s “Brain Cells” for the most epic interpretive dance-a-thon of the year). “Good Luck” is another banger that adds some elements of Reggaeton making this one of the most upbeat tracks here despite the not so upbeat lyrical content (“Good luck being lonely/Look after yourself/Good luck finding somebody else”). “More Than Most” is just gorgeous on its own but add a choir towards the end and the song goes way beyond.

Did I ramble on about the songs for a bit? I guess but when all is said and done, every song on Life Is Easy is beyond great. Things don’t slow down until the seventh song people! Thomas’s songwriting and evocative vocal style have truly gone to the next level on his sophomore offering. Life Is Easy is out on July 8th through Self Raising Records/Megaforce Records/RED. Don’t miss out on one of the greats of 2014, pre-order your copy here and here.


Welcome to Joyland, courtesy of Trust.


Have you ever gotten into a band at the absolute worst time possible? Like, you just fully immerse yourself in an album only to find that said band has just come through town? That’s my experience with Toronto’s Trust. Until next time then but for now I can still experience their latest album, Joyland, over and over and over again.

Somewhere between Depeche Mode and Pet Shop Boys with a twinge of Peter Murphy, Brad Roberts,  and Sigur Ros thrown in for good measure lies Trust. They’re one of those bands that’s so good that if Joyland is your first taste of the band, you’ll be instantly inclined to go back and devour their back catalog (I did and it is soooo worth it!).

From the onset of first track “Slightly Floating”, Robert Alfons’ voice will mesmerize, hypnotize, and utterly pull you into Trust’s world. “Geryon” picks up the pace and layers on the synths bringing to mind previous album, TRST. Speaking of their stunning 2012 debut (Take a listen to “Shoom”, “The Last Dregs”, and “Sulk” please and thank you!), Joyland presents only a slight departure sonically from that album but sees Trust even more focused and driven on songwriting and structure to give listeners the most exquisite listening experience (Check out “Are we Arc?” for more on that) this time around.

I’ll also admit that I was under the delusion that the soprano vox on Joyland were obviously done by either one of the two female band members or a guest vocalist at the very least…but nope, I was totally wrong. After watching a live clip (Live in Cologne), I discovered that Alfons does it all! His range is another factor which makes Trust a true stand out in today’s electronic music scene. Whether it’s switching from a deep baritone to a soothing mid range on “Four Gut” or taking his voice to even greater levels of sensual seductiveness on songs like “Ichabod”, Alfons is unlike any vocalist in modern music today. Joyland is available now. Find your copy here and then head over to their FB page to see when you can catch them live in NYC and L.A. this fall.

VANIISH go goth and beyond on debut album, Memory Work!

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It’s hard to describe VANIISH to someone who hasn’t heard them before. If She Wants Revenge went the way they should have, if I Love You But I’ve Chosen Darkness actually recorded a follow up to their stunning debut, if The Soft Moon were a tad less mechanical, If Bauhaus put out an album in 2014….

Does that help? Are you getting the feels? Can you smell what The Rock is cooking?

Anywho, former member of aforementioned The Soft Moon (As well as Wax Idols and Veil Veil Vanish) Keven Tecon is back after some tumultuous times with VANIISH ready to fulfill all of your gothed out musical hopes and dreams in the year of our lord 2014.

Unlike many of their contemporaries, VANIISH prove to not be a one trick pony on debut album,  Memory Work. Tracks like “Succession” and “Kaleidoscoped” easily exemplify how VANIISH stray from the pack with dense, lush songwriting similar to The Cure, who are known for easily navigating between the dark recesses to a sunny disposition from album to album. Just listen to the chorus of “Memory Work” and the bright, shimmering synths as Tecon anguishes “Nothing to remember/Nothing to forget” for proof of that.

Speaking of the title track, “Bela Lugosi’s Dead” permeates throughout setting this one up as this generations new goth anthem with its throbbing beats and sinister air. If “Memory Work” is your speed then try “Fragment/Fatigue” next which sees Nick Ott playing a nasty snare echoed by Tecon and guitarist/keyboardist Adam Beck’s sexy guitars and synths. As for the low end in VANIISH, Amy Rosenoff provides the driving bass lines on Memory Work especially during the bombastic “Search And Replace” and the serene grooves of  “Cold Fascination”.

Memory Work is out on now through Metropolis Records. Get your limited edition vinyl copy here and a less limited (but still equally awesome) digital copy here.

On third LP it’s anything but Luck for Tom Vek!


On Luck, Tom Vek’s third long player, the London-based artist manages to effortlessly connect the dots between all of his projects and previous albums to make an album that’s both cohesive and progressive.

Maybe it’s to be expected on a Tom Vek LP, but first track “How Am I Meant To Know” like on predecessors (“Hold Your Hand” on Leisure Seizure, “C-C (You Set The Fire In Me)” on We Have Sound) is just jarring and discordant. It could be a test by Vek on each outing: if you can survive this track then you’re prepared for the rest. If you can survive those first 3-4 minutes without skipping then you’re in for a treat….and honestly, to truly experience any album these days you have to listen all the way through.

“Sherman (Animals In The Jungle)” is next and is a hybrid of Vek’s collaboration with DJ Shadow in 2011 with his token sound adding more post punk guitar to the electronic aspects with a low end that just constantly grooves. Elsewhere, the clothing designer and app-innovator continues to expand musically on tracks like “Ton Of Bricks” that starts with a singular synth line until the guitars and percussion rise to a crescendo turning the song into a futuristic version of The Police.

Throughout Luck, though, there’s not one misstep. From “Broke”, which takes beats not unlike those found on We Have Sound to the next level, to the guitar-driven/bass heavy drone of “A Mistake” Vek has produced yet another masterpiece that manages to top his earlier work.

Other highlights (But really, each track is its own highlight) include “The Tongue Avoids The Teeth”, another jangly guitar-driven anthem with a smooth beat, and “Pushing Your Luck” which builds to an unbelievable jam led by Vek’s uncanny vocal delivery.

Luck is out today overseas and on June 10th in North America through Moshi Moshi Records. Pre-orders are available here, here, and here.

What’s in a name? Beastmilk is here to rock your world!


Anything Deathwish Inc or GodCity/Kurt Ballou related immediately piques my interest. Unfortunately, the fact that this one slipped through the cracks and I found out about Beastmilk through a Pantera anniversary issue of Revolver is entirely on me.

Yep, the name is gonna throw you: What kind of music is this? Are they serious? I’m telling you, though, look past the name and go for the meat and potatoes which is, of course, the music!

These Finnish former death metallers have crafted an album that puts Matt Skiba and Alkaline Trio to shame. Add some epic guitar ferocity in there along with some early Danzig and a small helping of Bauhaus for a better view of the “beast” that is Beastmilk.

But man oh man, these songs! “The Wind Blows Through Their Skulls” is an anthem and a half…you know, the kind of song that you just feel deep in your bones and makes you scream along at the top of your lungs during the chorus? “Fear The Mind” is one of THE best rockers out there with ungodly guitar tones that just moves the song to other levels of excellence. “Genocidal Crush” is the post punk single to end all post punk singles with an infectious sing-a-long refrain while “Ghosts Out Of Focus” sets a different mood altogether, slowing down but never stopping the intensity.

The only fault this album has is that it eventually has to end.

Climax was released late last year so you might have missed it but the important thing is that you know about it now so you can go  here and get yours.

Bob Mould continues musical reign with Beauty & Ruin!


Apparently Bob Mould wasn’t done with  guitar rock after  the 2011 “See A Little Light” concert retrospective event inspired 2012’s brilliant Silver Age. If anything, the just released Beauty & Ruin is even more visceral and potent than its predecessor really harnessing the power of the Du at points.

It’s inevitable that anything Mould puts out is going to be compared to his older works but never in his career has he put out something so all-encompassing as the collection of songs found on Beauty & Ruin.

“Low Season” is a bit of a slow burn but paves the way for one of Mould’s most driving albums to date. From there, things get hectic. “Little Glass Pill” could be a new Husker Du tune and the same could be said for “Kid With Crooked Face” which is also the fastest Mould and co. have played in a long time. Speaking of “and co.”, the continued presence of Jon Wurster and Jason Narducy has reinvigorated Mould with a line up that really clicks on stage, in the studio, and with audiences.

The band continue to excel on first single “I Don’t Know You Anymore” featuring Mould’s signature songwriting prowess, on the pop punk “Hey Mr. Grey”, and on the Sugar-esque  “Nemeses Are Laughing” which really shows off Wurster’s drum skills.

Silver Age was just the prelude. If you thought that one was fierce then boy, you ain’t heard nothin’ yet! Beauty & Ruin is out now on Merge Records. Get your copy here!


Greys debut If Anything: Rock and roll will never be the same!


A while back I used to write for another site and did an annual column/dig on AP’s yearly “100 Bands You Need To Know In ____” issue (Mine was entitled “I Read AP’s 100 Bands You Need To Know in ___ So You Don’t Have To”. Clever, right?) Sometimes there were some diamonds in the rough, but more often than not it was junk. The diamonds, however, when found stuck with me forever.

One such diamond was Greys from Toronto. At the time, their 3-song Drift EP was a nasty slab of Nirvana grunge merged with the almighty Helmet’s wall of heavy. Cut to 2014 and Greys debut full-length If Anything is cleaner, meaner, and an all around breath of fresh air in the face of a world of stale rock and/or roll. The songwriting has grown considerably since that EP as songs like “Pretty Grim”  and “Chick Singer” focus on development of the song first and foremost instead of bashing you over the head with the hard rock (That comes later in each song).

However, If you prefer an intense head bashing immediately then try opener “Guy Picciotto” with its blistering wall of sound and staccato drums with your morning coffee. “Adderall”, like the name implies, is exactly that: an amphetamine-fueled romp that shares a similarity or two with “Territorial Pissings”. Elsewhere, “Flip Yr Lid” takes listeners back to Possum Kingdom while “Brain Dead” begins like a “Negative Creep” but ends somewhere else entirely leading into thunderous”Cold Soak” featuring an otherworldly guitar breakdown that makes this one of the many highlights here.

Do we need another Nirvana in this day and age? No. We need something more. Something else. I believe Greys is that “something else”. Take a listen to If Anything and find out for yourself.

If Anything is out on June 17th through Buzz Records/Carpark Records. Digital copies are available here.


Jokes! Episode 4: Marc Maron, Thinky Pain


Marc Maron is another comedian/artist that I should be into but never took the chance. Much like Hannibal Buress’ latest (That I recently reviewed here), I finally took the plunge and, boy, am I glad that I did. Besides Maron’s appearance in Mike Birbiglia’s Sleepwalk With Me and a friend of mine raving about his WTF podcast on a semi-daily basis I know nothing about the man except that apparently he’s awesome. Does Thinky Pain prove that theory? It definitely does.

Recorded at Le Poisson Rouge in Greenwich Village, Thinky Pain sees Maron flying by the seat of his pants with a set that he seemingly makes up as he goes. And it works.  Beginning with a story about following a set by the legendary Bill Hicks, Maron scores laugh after laugh with his acerbic wit and timing. Navigating from stories focusing on using a girlfriends hangover as an excuse to satisfy a need to purchase Captain Beefheart vinyl, meeting a mystical buddha waiting in line for a burrito (After purchasing said vinyl), and his thought process when formulating ideas for jokes which leads to a great bit on autoerotic asphyxiation and ultimately, more laughs.

Then there’s Maron noting how judgmental he can be (“Fuck those shorts!”) and connecting being on the “Morning Zoo” (You need to listen to know what that is) to the Zombie Apocalypse. As a mid-30 year old a lot of Maron’s jokes really struck a chord in my funny bone but after listening to Thinky Pain it’s apparent that his humor transcends generations and it’s definitely worth checking out.

Thinky Pain is available now through Comedy Central Records at all fine digital retailers or you can go old school and pick up the vinyl version here.


Slighter invite you to listen to the Science Of Noise on latest.


Like a mixture of cEvin Key’s Download project, The Prodigy, and Massive Attack infused with Front Line Assembly’s immense soundscape, Los Angeles’ Slighter take everything that’s great about electronic music in 2014 to another level on their latest.

Drum ‘n’ bass is alive and well in 2014  as almost opener “Above Ground” proves (“Losing Time” which officially opens the album gives only a slight glimpse of what’s to come). Filled with enough beats to guarantee you get your groove on and some subtle guitar lines to enhance the mood, this track is just the tip of the masterpiece iceberg on Science Of Noise.

If Massive Attack was consistently putting out records (Heligoland came out when?) or Tricky was still in Maxinquaye mode then “Caught Up” featuring Nica Brooke would be their jam with its sinister piano chords building to a massive (pun intended) beats-driven finale with Brookes’ angelic vocals floating above.

“Last Light” (featuring Wolftek) is this beautiful sonic excursion that’s equal parts Skinny Puppy creepy combined with Daft Punk’s Tron: Legacy score while “ReSet” ups the ante on expectations as to what a dance floor anthem should sound like. Later still, the pairing of the jaw-dropping body moving “Wrecked (Featuring Risk Letter)” (On par with some of The Prodigy’s best tunes) with the tweaker meets UNKLE vibe of “Deadly (Featuring Simon Latham)” is enough reason why Science Of Noise is a vital part of your music collection.

Science Of Noise is available now through Amazon and Itunes but if you like what you hear, head on over to Slighter’s bandcamp page for the deluxe edition.