Category Archives: New Music

The Hempsteadys – Séance! Séance!

THE HEMPSTEADYS
Séance! Séance!
Self-released 2018

At first, I wasn’t sold on Séance! Séance!. I don’t know why, but the record didn’t click with me when I listened to it. I had never heard of The Hempsteadys and probably wouldn’t have if one of the band members, saxophonist Cody Freedom, hadn’t reached out to me after reading my Boss Riot review. That’s not a slight against the band; that’s just the reality of living in the middle of Kansas. It’s challenging to stay current with new music when the radio only picks up country music, and the nearest decent concert venue is an hour and a half away.

I ended up coming back to the record a few days later because I felt like I needed to give it another chance. It was after the second listen that I realized that Séance! Séance! was a good record. It took a third spin to realize that it was an excellent record.

“Still Life With Woodpecker” is the first single from Séance! Séance!, kicking things off with a frenetic opening drum beat that sets the tone for the rest of the record. “When Dead Are Undead,” one of two instrumentals on the record, features Vinny Noble (The Pilfers, Suicide Machines, Bim Skala Bim) absolutely killing it on trombone. The other instrumental, “Temple of Boom,” has a two-tone sound that will make you swear that you heard that song on an older Specials record. A later track, “The Well,” sounds like what would happen if you tossed Rancid and Bruce Springsteen’s The Wild, the Innocent & the E Street Shuffle into a blender and hit puree.

The comparison to Rancid doesn’t stop there. The gravelly dragging vocal style expressed on the record will immediately call apt comparisons to Tim Armstrong. That might have been my barrier to liking this record at first, as I am not the biggest fan of Armstrong’s vocals. Musically I loved what I heard, as the band makes use of multiple genres across the record and giving each song its own identity. The sounds are wonderfully mixed, and none of the instrumentation is buried, which is a problem I have with some ska records. The horns are front and center on Séance! Séance!, but not at the expense of the rest of the band.

Séance! Séance! should be an automatic addition to your ska collection. Not only do I look forward to hearing what The Hempsteadys put out next, I look forward to discovering their back catalog as well because right now I can’t get enough of this band. The Hempsteadys will be touring Connecticut throughout the fall. You can get Séance! Séance! and their other works at thehempsteadys.com

Featured image by Mattias Lundblad. 

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Boss Riot – Lace Up Straight

BOSS RIOT
Lace Up Straight
2018 Jump Up Records

I first discovered Boss Riot when I purchased Jump Up Records’ compilation collaboration with Ska Brewing Co., Drink the Ska. The song was “Hearts and Hands,” and I was hooked. Sadly, I had to wait a few months until I could listen to the band’s first full-length record, but it was well worth the wait. The soul/ska sound promised in “Hearts and Hands” was fully delivered on Lace Up Straight.

This six-piece outfit formed in Dallas, Texas in 2015, and is comprised of Vicki Tovar on vocals and melodica, Jake Olsen on lead guitar and vocals, Ryan Reeves on rhythm guitar, Chris Casey on organ, Mike Burke on bass, and Rob Tovar on drums and percussion.

The lead track on Lace Up Straight, “Bad Man,” starts the album off with a thumping beat that’s reminiscent of Sam and Dave mixed with The Selecter. “Chisholm Trail,” a wonderfully inviting instrumental that blends ska with a little bit of the ’60s surf sound, reminded me in particular of the interstitial music played during episodes of Kids In The Hall.

(Because when I think ska, I think Canadian sketch comedy)

Kids in the Hall Blown Speakers Boss Riot
Courtesy of The Broadway Video Group, Inc.

Little Things” projects a nice Bossa Nova vibe, while the previously mentioned “Hearts and Hands” has a great old-school 2 Tone sound.

It’s difficult to talk about Boss Riot without singling out the delightfully soulful, swaggering vocals of Vicki Tovar. When mentioning female ska singers, it’s easy to make comparisons to Monique Powell of Save Ferris, Elyse Rogers and Karina Deniké, or even Gwen Stefani, though I would say that Tovar’s fantastic vocals are more in the vein of Amy Winehouse or Lisa White of the Radiation Kings.

You can stream the album and buy a digital copy at the band’s website. You can also pick up a physical copy from Jump Up Records.

Boss Riot is currently touring the west coast, with shows in CA,  NV, TX and AZ.

Featured image by Rafael Badillo. 

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Ogikubo Station – We Can Pretend Like

OGIKUBO STATION
We Can Pretend Like
2018 Asian Man Records

While I can’t say I’ve heard every release from Asian Man Records, I like to think I’ve heard everything from Asian Man Records’ Mike Park. Park is not only the founder and driving force behind AMR, he also plays on some of the label’s acts: The Chinkees, Skankin’ Pickle, and The Bruce Lee Band. So imagine my surprise when I found out I missed the EP last year of his collaboration with Maura Weaver of Mixtapes, Ogikubo Station. 

The self-titled EP, featuring 6 songs from Park and Weaver, came to be because they thought “our voices sound really good together.” This August will see the release of their first full-length as Ogikubo Station with We Can Pretend Like.The album surprised me, in part because I was expecting something ska-like along the same lines of Park’s previous bands (which this album sounds nothing like), but also because I wasn’t anticipating loving this album. 

We Can Pretend Like offers a solid 11 tracks that split time between folky/acoustic and indie rock. Park and Weaver make for a wonderful duo, and their voices really complement each other. “Take a Piece of All That’s Good,” the first single, showcases how well the two harmonize with each other. 

Weaver’s vocals in particular manage to simultaneously invoke feelings of melancholy and hopefulness in both “Take a Piece” and “The Radio Plays.” I found myself repeatedly relistening to “Weak Souls Walk Around Here,” which invokes sounds of old Hoodoo Gurus and R.E.M. 

We Can Pretend Like drops August 24th on asianmanrecords.com. You can also listen to the Ogikubo Station’s 6 song EP, the self-titled Ogikubo Station, here in preparation. 

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Fuck Releases The Band, Their First New Album in 10 Years

A personal life rule of mine: Never date a girl that’s heard fuck before. Fuck is what I bring to a relationship. They are my gift. My contribution to love. Introducing potential mates to Those are Not My Bongos, or now The Band, is my gift to each and every girl I’ve let down. Look, I know I’m bound to screw up the relationship eventually. However, I can always rest assured, that 5 years later when she thinks back to what an asshole I was, she’ll probably be listening to fuck. It’s my only positive contribution to most of my relationships.

To say I’m an aficionado of fuck is falling short of the target. I’ve made personal life rules based on their discography for christ’s sake. Which is weird, because I was late to the party. I didn’t listen to my first fuck album, Those Are Not My Bongos, until 2005, a year or two after it was released. That was also their last album. I’ve had a full decade (and change) to digest a half dozen albums, rearrange my best bands of the ’90s list, and wish I could have seen them live.

I’ve been told several versions of what happened at the last show in Cleveland at the Beachland. Before they played in the Tavern, they had everyone walk over to the Ballroom. There, depending on the version of the story you hear, they either performed a puppet show, or one of the members caterpillar crawled, in a sleeping bag, across the Ballroom stage. I like to imagine both happened—simultaneously. I missed it all. So really, this is my first brand new fuck album, and it’s a perfect place for anyone to start.

Timothy Prudhomme, Geoff Soule, Kyle Statham, Theodore Ellison

The Band, coming 6/22 on Vampire Blues, starts off with a noisy instrumental rocker. The song is punctuated with a knock knock joke. Spoiler alert: the song title is the punchline. Grammar humor is the best. I’m already hooked. Facehole is classic fuck. Laid back, quirked out lyrics. They excel at clever arrangements and layering off kilter melodies. Their back catalog is filled with fragile songs, all feeling dangerously close to falling apart, but with a force of will that propels them confidently forward. This dichotomy (fancy word time) is what I find so seductive about their music. The Band is no different. It Girl dissolves and re-coalesces around the bass. Cream Pie Patch is the dreamy fuck of the ’90s, resurrected and better than ever. The video for the lead single, Leave My Body, was released last month, and on the album it’s nestled in the middle. It’s the bellweather track of this album. If you’re down with it you might as well just buy the album. Thirsty Gnome is definitely from a band that puts on puppet shows while inch worming across a stage. The album mellows and fades out. If the opener, To Whom, is when the person with the bourbon shows up to the party, the closer, Tell Me No, is 4:30am and you lost your pants hours ago.

The Band is most definitely fuck. Not in a rehashing well-tread territory way, though. It’s comfortingly fuck. It also showcases a band that has clearly grown in 10 years. They thread the needle of releasing an interesting, pretty, and relevant album after a 10 year hiatus. If it’s not their most consistent album, it’s at least one of them. Maybe we’ll get a tour. Maybe even another album. I’m not really worried about that, because The Band can sustain us for another decade.

Timothy Prudhomme, Geoff Soule, Kyle Statham, Theodore Ellison
photo by Jamie Harmon

It just occurred to me that someone from fuck might be reading this. I potentially have the opportunity to speak directly to some of my musical heroes. I guess I’d have to say sorry. Sorry for that one time a band I was in opened for fuck member Geoff Soule’s band Sad Horse. I drunkenly decided to do a fuck cover. One that our fill-in drummer had never heard. It did not go well. Even with, or perhaps because of, the booze and drugs. Yeah, man. I’m sorry.

Timothy Prudhomme, Geoff Soule, Kyle Statham, Theodore Ellison
Fuck: The Band — Timothy Prudhomme, Geoff Soule, Kyle Statham, Theodore Ellison
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Soundtrack for Your Record Store Day Playlist

What better way to celebrate Record Store Day than with some new music! Specifically, a song all about how awesome record stores are.
The Junior League is a project by New Orleans transplant Joe Adragna. His sixth release since 2006, the latest album Eventually is Now is a mix of true stories and inspired tales.  The lead track, Teenage Bigstar extols the virtues of record stores and the great things that happen there. It chronicles two true stories from Joe’s life. Aptly named, the song strikes of Teenage Fanclub meets Big Star. 

Verse one recalls the day Joe met Alex Chilton at a New Orleans record store called The Magic Bus. Joe was a Big Star fan and quietly mentioned it to Chilton, not wanting to bother him. Chilton casually waved it off and instead grabbed the records from under Joe’s arm to see what he was buying. Chilton held up Joe’s copy of Beach Boys Live in London and started talking about how great they were, how he toured with them in the ’60s, and what a great drummer Dennis Wilson was. Chilton took out the record, handed it to the clerk, asked them to play Barbara Ann, and started playing air drums along to the beat. 

Verse two is inspired by the night Joe went to see The Minus 5 and wound up taking Scott McCaughey, Peter Buck and John Ramberg to that same record store. They talked about The Beatles and The Monkees, and after the show Joe vowed he’d make a record if it was the last thing he ever did musically. Lucky for us, he’s still going strong. Check out the rest of Eventually is Now on Bandcamp or Spotify. 

 

Jr League band eventually is now

 

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