Frankly Lost - We Can Do It Tour-Gether

For many artists (or at least the ones that mean it), art is a visceral expression of being, a translation of amorphous feeling into tangible experience. Art lets others into the artist’s world, peeling back the curtain to attempt to reveal the truth of their lives—a task much easier said than done. Yet still, so many musicians today are fearlessly stripping away their armor to share their experiences and connect with others through song. And for me, no artist puts so much of his soul on the line in this endeavor as Frankly Lost on his full-length We Can Do It Tour-Gether. 

Without question, this record sounds as ruthlessly raw as freshly scraped knee, as if Frank is five feet in front of me, strumming his guitar in my living room. His vocals are simultaneously soft and  strong, each note laden with honesty as he drives out his demons via insanely catchy choruses. There is a fantastic range of emotion and energy built into the tunes, from the slow sway of “Mr. Exposed Entrepreneur” to the folk-punk thumper “Sun Exists, Guns Out,” so that not a single second feels rehashed or contrived. 

The album's instrumentation is driven largely by Frank's unadorned acoustic guitar, chords ringing loud and proud from twangy strings that are often strummed at marathon speeds. Yet he is not wholly alone in this endeavor: "Liar" features a pounding bass drum and quick-footed basslines, "Death Metal Band" interposes ringing bells and gang vocals into the mix, and “Door into Summer” lapses into a ska feel with its delicious trumpet melodies. This mix of genres and instruments only serves to enhance Frank’s already-powerful songs, giving We Can Do It Tour-Gether a varied palate that can appeal to even the most rigid of music fans. 

For me, the most inspiring aspect of We Can Do It Tour-Gether is its lyrical honesty. Frank is a storyteller, a modern-day bard spinning his storied world into vivid song. But there are no clumsy metaphors to trip the mind or obscure the truth; he tells it exactly like it is, putting his pain plainly out before us. Lines like “I know that I'm dejected, aimless, / Hungry, self-obsessed and useless” from “Dehydrated” give us harsh glimpses into his struggles with depression and self-defeat. But Frank doesn't wallow in the despair of his music: even one listen to this record makes it obvious that these songs serve to purge that sadness from his heart by sharing it with the world. Frankly Lost's lyrics are so viciously real, veritable snapshots of the world he lives in, which I can't help but relate to with each and every spin of this album.

Frankly Lost’s collection of tunes on We Can Do It Tour-Gether is one of the most truthful pieces of music I’ve ever listened to. Every song is painfully sincere, a little slice of his soul woven between his guitar strings. Frank’s music draws me into his world—one of hardship, but also one of beauty—and lets me know that it’s okay to hurt, because there is always beauty beyond the pain. Even in its title, We Can Do It Tour-Gether asserts no one has to go it alone in this strange and oft-tiresome life, a  message that I hope to keep with me as long as I own this record. 

My Top Track: “Mr. Exposed Entrepreneur”

You can find more from Frankly Lost, including upcoming shows and news, on Facebook. Then head over to his Bandcamp page and get your own copy of We Can Do It Tour-Gether. 

stop.drop.rewind - Element & Aftermath

In a lot of ways, punk rock and math rock are the antitheses of each other; the visceral speed and energy of punk make precision playing near impossible, while math rock’s focus on intellect and instrumentation can all but negate the chaotic emotional content necessary in punk. Although they may seem incompatible at first glance, plenty of artists are paving a road between the two genres, keeping the energy high as they roll through jazzy chords and complicated time signatures. With Element & Aftermath, stop.drop.rewind walk this line between prog and punk with confidence, creating a harmonious balance between their captivating melodies and methodical performances.

The music on Element & Aftermath is something of an anomaly—shaped by four musicians who clearly understand their instruments, and yet know that a kickin’ hook is worth as much as a nasty time-signature-hopping breakdown. The guitars work overtime as they run up and down the neck, splashing their color chords between speedy melodic riffs. The bass dominates the low end with punchy tones and vicious lines of notes, while the drums spread syncopated fills that only serve to complement the string section. Above this landscape of sound, the vocals mix extremely catchy choruses with finely-tuned harmonies (an oft-overlooked avenue) that blast their compositions into the atmosphere.

Stop.drop.rewind presents an excellent blend of tones and emotions on Element & Aftermath, creating a record that is diverse as their approach to writing it. Tunes like “I Was a Portrait” and “Main & Lincoln” wield pop-punk choruses that demand singing along, while the opener “The Entire Orchestra” or the jazzfest “Eraser” choose as their weapons precise musicianship and sharp amelodic chord changes. Yet through it all, there is not a single song on Element & Aftermath that feels inaccessible; each uses the perfect ratio of technical precision and delicious hooks to attract every kind of listener and keep them entangled in stop.drop.rewind’s sonic web.

The lyrics of Element & Aftermath are as intricate as the composition. Each song is laden with images that carry as much literary weight as they do emotional depth. Lines like “Over the trees, the changing leaves, late summer breeze / Will carry me until it sets me down” in “Yellow Roses” use focused imagery to create a vivid scene for the listener, chaining each piece of the picture together to form a cohesive portrait. In addition, stop.drop.rewind avoid relying on clichés or dead-horse phrases, instead opting to put their own spin on those concepts; for instance, “The Dissonance” takes an old adage and brings it into mythic proportions with the lines “Carry every failure on your shoulders / Chips turn to bricks turn into boulders.” It’s exceedingly rare that a record is a fun to read as it is to listen to, but with Element & Aftermath, stop.drop.rewind keep their pens working as hard as their instruments.

So whether intense riffs and time signature changes are your cup of tea, or if you prefer thrashing chords and hyped vocal melodies, stop.drop.rewind has your back. Each of the ten tracks on Element & Aftermath keeps the energy maxed out while spinning mathy syncopations and chord changes. There’s as much for the head as there is for the heart on this record, and I’d bet that a single listen through will leave you as hooked as I am. 

My Top Track: "The Dissonance"

You can find more from stop.drop.rewind, including show updates and news, on Facebook. Then head over to their Bandcamp page to grab your own copy of Element & Aftermath.

Shameless Self Promotion: New Single "Tallest Trees, Highest Branches" Drops Today!

"Tallest Trees, Highest Branches"

Hey friends! Brace yourself for some more shameless grandstanding....

In a few weeks, I will be dropping my very first full-length effort, Drops of Dew & Mourning. It's a record I've been working on for years at this point, and I'm excited to get it out in the world finally. So excited that I thought I'd share a song with you now. 

"Tallest Trees, Highest Branches" is probably the best example of what Drops sounds like--bombastic, scattered, DIY, and (hopefully) honest. It features a full arrangement, including programmed drums, vocal harmonies, and two 4-string bass parts. It's also fast becoming one of my favorite songs to play live. 

You can stream "Tallest Trees, Highest Branches" right off the Bandcamp page, and/or download it for free if you so choose. Don't be afraid to leave a review either--I'd love to hear what you think!

Drops of Dew & Mourning "drops" on Saturday March 30th on Bandcamp. Come join me and some great local acts at CBBG in Watertown that night to celebrate the record release and to grab your own physical copy, featuring artwork by the incredibly talented Deanna Burke. 

Thanks for giving this a shot. 

• Drops of Dew & Mourning Record Release Show: https://www.facebook.com/events/1607343876017821/

• "Tallest Trees, Highest Branches" on Bandcamp:https://thejudasobscure.bandcamp.com/album/tallest-trees-highest-branches-single 

• Deanna Burke's Website: http://www.deannaburkeart.com/ 

Fat Randy - Reggaenomics

When it comes to us musicians, it’s very easy to take ourselves, to take the whole thing, too seriously. We all invest a ton of emotion and feeling into the pieces we create, but that doesn’t mean we aren’t allowed to have fun with our music. There is room for laughter as well as chops in our tunes, and no band seems to understand that better than Fat Randy, who pair some serious technical skills with a goofy sense of humor on their new full-length, Reggaenomics.

After spinning this record for a few weeks, I can honestly say that I’ve never heard anything quite like Fat Randy’s brand of punk/funk/rock. The guitar’s massive palette of sparkling yet brusque cleans, crushing distortions, and watery choruses gives each piece its own distinct flavor. The bass runs up and down the neck across complex lines, pairing perfectly with the drums’ syncopated grooves. The vocals spend most of the record spinning a disaffected if not sly demeanor, making the guttural screams that occasionally tear through the speakers that much more poignant.

Fat Randy’s sound is a bastard lab hybrid of Primus and Bad Religion—somehow simultaneously prog, punk and everything in between. “Super Best Greatest Day Ever” tears along frenetic slash beats and wild power chords at terrifying speeds, while “Scarecrow” stacks heady riffs and gloomy basslines on top of alternating measures of 7/4 and 11/8. Tracks like “If I Were Not Diogenes (I, Too, Would Wish to be Diogenes)” and the instrumental “Fruit Salad (Please Kill Me)” also feature ripping, almost atonal saxophone melodies across both jazzy syncopation and heavy chugs. With Reggaenomics, Fat Randy shows they can thrash just as much as they can math, letting their intelligence guide the composition while their hearts fuel it with adrenaline.

One of my favorite aspects of Reggaenomics is how cohesive it is as a record. While any single song stands strong just on its own, it is in the sequence of the record in which they shine. Almost every tune slides naturally into the next, the feedback of final notes building into the next song’s intro. In addition, both the opening track “Trickle Dub Policy” and the interim “Jah Gave the CIA Crack to…” provide little snippets of insanity that further the jovial and chaotic atmosphere of the music. Even the energy dynamics between adjacent songs are seamless, totally avoiding the awkward emotional changes between tracks that stunt the flow of so many albums. Listening to Reggaenomics is a total experience from front-to-back, and as someone who likes to get lost in the music I listen to, I greatly appreciate the effort it takes to create such an experience.

Hands down, Reggaenomics is a pretty weird record, full of bizarre lyrical concepts and an attitude of blissful nihilism. But it’s also one hell of a listen—their chops are top-notch, their writing is both compelling and catchy, and the songs absolutely rock. Fat Randy’s blend of technical precision, punk virulence, and an odd obsession with food leads to a wholly unique and fun listening experience. It’s a record that holds something for everyone, you included, and I’d be surprised if it took you more than one listen to find your spot in this fascinating carnival of sound.

My Top Track: “Scarecrow”

You can find more from Fat Randy, including show updates and news, by following them on Facebook. Then, head over to their Bandcamp page and grab your own copy of Reggaenomics.

Parch - S/T

Music provides a massive range of emotional release for people. We listen to music to lift our spirits, to laugh, to cry. We vent our rage through music. We commiserate through it, we connect with it. And sometimes, we get crushed by it.

There are few feelings comparable to that of standing at a show and feeling the notes physically hit you as they vibrate through the air. This is noise rock we’re talking—music so loud even the amps are screaming, spitting sound so big it drowns out thought and emotion, wholly dominating your existence for a half hour.

Translating this experience to record is a very difficult matter for lots of noise-driven acts, but on their new self-titled EP, New Jersey’s Parch has no trouble capturing the enormity of their sound. The pounding drums nearly overload my speakers, the cymbals toppling over the booming kick and sharp snare. The guitars screech with fuzz and furor, thrashing chords challenging the overdriven bass in a race to the finish. The vocals are raw and raving, each syllable scraped off the throat and strained through a scratchy filter before it reaches the mic.

The sound of Parch is vicious and deliciously chaotic, everything I could ask for and more. “The Teeth” and “Pet Cemetery” both race along at hectic tempos, riding blast beats to their catastrophic end without breaking the one-minute mark. Yet on “Harsh Soil,” Parch take their time, stomping along like they’re on a drunken funeral march. Even the opening track “Barren Land” features hissing feedback and distorted vocal clips over a guitar melody that is somehow simultaneously gorgeous and gross.

Rampant with raw energy and attitude, Parch is a record without pretense—a pile of songs soaked in static and led by honest passion. Though this is undeniably a noisy record, the energy is infectious and fun, the disaffected shouting of the vocals as sincere as they are scary. But there is no shortage of darkness either—both “Knee Deep in Devils” and the closer “Mount Misery” create a disturbing atmosphere of fury and fear the likes of which most bands only dream of approaching. 

Creating an album that captures the bedlam and volume of a live show is no simple feat; doing justice to the songs in such a context is a far taller order. Yet with their self-titled EP, Parch show themselves to be clearly up to the task. Their short collection of raucous tunes are packed with ruthless riffs, ferocious vocals, and a whole lotta heavy. Parch is a record that has had me locked in for weeks now, and I have no doubt it’ll do the same to you.

My Top Track: "Harsh Soil"

You can find more from Parch, including your own copy of their S/T, on their Bandcamp page.

44.caliberloveletter - Demo '18

If high-school-me ever heard that I now consider myself a fan of screamo, I think he might punch me in the face. But it’s undeniable—I love me some skramz. The late nineties / early aughts were a goldmine for this aggressive, abrasive, and brutally honest genre, and to my severe delight, it appears to be making a comeback. One such band braving the sound is Sweden’s 44.caliberloveletter, whose new Demo ’18 not only celebrates the insanity of skramz, but dares to bring it into a modern world.

Demo ’18 is viciously raw, oozing with live energy and unbridled potential. The hallmark chaos of screamo is certainly present as the band blasts through quick riffs and hectic changes. The dual vocals intertwine like two lovers fighting, each voice bashing against the other in an off-kilter rhythm. The drums crash beneath melodious basslines and a blaring guitar, the band blurring the line between beautiful and brutal. Yet perhaps the clearest part of this record is the intensity—44.caliberloverletter lay into their songs, yanking each tone, drum hit, and word from the core of their hearts as if it is their final act.

For only three short and quick recordings, the songs that make up this record are jam-packed with dynamics and versatility. Each piece holds up its own distinct sound, flaunting a unique approach to 44.caliber’s signature style. “messenger dove” whirls around a bright upbeat melody, “rotten teeth” smashes vicious chugs and spastic blast beats against a crooning coda, and “unplugged from reality” sulks on a somber yet driving chord progression. Additionally, there is virtually no repetition whatsoever in any song—each tune stacks lyrics and riffs one after the other, barely leaving us time to ruminate on the past before bursting into the future.

One of the things I most appreciate about 44.caliberloveletter’s Demo ’18 is how gut-wrenchingly honest it is. These three tunes sound like they were battered into the tiny mic on someone’s iPhone, and as such, there is absolutely no pretense, no “studio magic,” no second guesses. These songs are not impressions of 44.caliberloveletter, but pictures of them—the exact same way they would sound if they were playing ten feet from you in someone’s basement, thrashing about in the throes of their pained and powerful sound. And that’s one hell of a first impression to make.

If 44.caliberloveletter’s demo is truly a demonstration of their capabilities, then I can’t wait to see where their road leads. These tunes are so honest, so tastefully chaotic, and too easy to spin over and over. If you’re looking for some new music that is as gritty as it is gorgeous, look no further than this demo, because it’s packed to the brim with punch and potential, and well worth your time.

My Top Track: “rotten teeth”

You can find more about 44.caliberloveletter on their Facebook page. Then head over to their Bandcamp and snag a copy of Demo ’18 for yourself.

The 30th of February - Silence

One of the hallmarks of a great record is its ability to grab your attention and get you moving from the first few seconds. More important still is a record’s ability to keep you interested until the very last note. Displaying diversity in sound without underselling a band’s strengths is a daunting task, but with their new EP Silence, CT’s The 30th of February prove that they are more than up to the challenge.

The music that The 30th of February collects on Silence is the very antithesis of the title, raucous and unrestrained. Guitar riffs tower like the walls of an ancient city—every tone is so intimately designed that each listen reveals something new. The drums form hypnotic grooves that rise and fall like ocean waves, while the bass punches up the low end in deep and rumbling tones. The 30th combine all efforts to create gorgeous and brooding soundscapes in each piece, making it too damn easy to get lost in the instrumentation.

There is a ton of dynamic movement across Silence, and nowhere is it more apparent than in the vocals. Verses haunt in quiet corners before striking out furiously in the choruses. Lines like “I can’t cry / I can’t fly / but I won’t die for you” carry a tense and deep emotion that belies their disaffected delivery. Additionally, each song features powerful and pretty harmonies, further adding to the soundscape and tying the human presence into the monstrous instrumentation.

Despite their extremely distinctive sound, The 30th of February manages to impress each track on Silence with its own distinct mood and vitality. “Captain” drawls across a gritty chord progression before colliding with the hyper punk anthem “Codeine Chaser.” “Caffeinated Dreamscape” sulks on a heavy and hypnotic bass riff, and “I’m Alright” rides a simple, undulating chord progression until it rushes forth into a chaotic coda. Each of these four tracks create very distinct impressions of this band’s capability by exploring very different sonic territories and moods. Yet these tracks belong together—to remove any single song or even rearrange them would serve only to diminish the captivating power of this record.

Silence sounds like a voyage into the underworld, each song a leg of the journey deeper into the unknown. Rich soundscapes and emotive performances leave me feeling a palpable charge of energy after each listen. The 30th of February flaunts both their skillful playing and their tight writing on Silence. Their distinctive, driving sound and expressive performances have me completely addicted to this release; I truthfully cannot wait to see where they head next, and I can assure you that wherever this odyssey takes them, I will be right up against the barrier to cheer them on.

My Top Track: “I’m Alright”

You can find more from The 30th of February, including upcoming live shows and news, on Facebook. Then grab your own copy of Silence on their Bandcamp page.