Song Spotlight: "Collective Thoughts" by From Elsewhere

Emo and punk music have a tendency to thrash and to smash—not that there’s anything wrong there. Cut beat drums, searing power chords, and shouted vocals lead to the mosh pits we know and love. Yet they leave very little room for anything else. One weapon left almost untouched by such music is groove: dynamic shifts and attentive writing that add a fluidity to the music, an energy that moves the listener even as it moves the song. Groove gets largely ignored by emo and punk, but not with Indiana’s From Elsewhere, whose latest single “Collective Thoughts” functions on the very principal that punk can sway as hard as it can slam. 

“Collective Thoughts” is a swirl of interlocking guitar riffs and drum beats, every instrument seamlessly intertwined in an emotive dance. The bass treads playfully along its own melody as the band dips between dynamic breaks, the composition undulating like ocean waves. The band hangs back for the verses, letting the soft rasped vocals float at the surface until the explosive chorus crashes into existence. 

The chorus poses the question “Would you tell them all your secrets / when they don’t give a fuck about them?” almost like a challenge, kicking the chorus to life with profanity that invites the gritty chords and chugging rhythm section to carry the tune along. “Collective Thoughts” is a tune that evolves as it goes, the intelligent compositional choices creating momentum for a band locked into a powerful and particularly unique groove. 

The indie-punk riffs and casually emotional lyrics of “Collective Thoughts” coalesce into a tune that is too danceable for its own good, and yet as introspective as a dream journal. From Elsewhere approach their songs with an intensity that is both powerful and restrained; they crank the energy up slowly as they go, letting their drum fills and catchy rhythms sink their teeth in before dragging the listener down into the depths of the song. This is a band that understands the importance of thought in music, and how it relays feeling; so I wouldn’t be surprised to see From Elsewhere making big waves in the near future. 

You can find more info on From Elsewhere on their Facebook page. They just dropped their debut EP, Just Like the Sun, featuring “Collective Thoughts” on Spotify. You can also download the single from their Bandcamp page.

Will Grayson - Yet What Else After All

All art strives to bring its audience somewhere, to create an experience that is both novel and immersive. No small task for any medium. As a lover of music, I have no trouble letting a song or a record take me away, but it is rare that I am absorbed by the music, carried into a world that is both brand new and painfully familiar. And that is exactly what happens every time I start spinning the new full-length by Will Grayson, Yet What Else After All, an expansive journey through youth and memory.

Will Grayson is a solo musician who thinks like an orchestra, and the instrumentation on Yet What Else After All really has the feel of a symphony. The record is a splay of different dynamics and textures, placing grinding, near-dissonant rock anthems next to wounded acoustic ballads. Even the songs themselves feature dramatic, almost violent shifts: “Like a Death” is a panic attack juxtaposed with a daydream, while “Angels’ Wills and Diana’s Pills” jumps from jangly 4/4 indie-pop into a jolt of mathy and fuzzed-out rock.

In juxtaposition to this cacophony of sounds are the vocals on Yet What Else After All. The melodies are gentle, like the scrawl of a pencil as it writes, and that is just what his voice is doing. Will Grayson uses rapid-fire rhyme and multiple literary devices to brighten his language and delivery, all sung in a soulful croon. His lyrics are feathered strokes of the human experience, delving into the depths of relationships and the tangled messes that they can become.

Lines like “You know why / I’m callin’ tonight / because I can’t win that fight / if I have to face you” or “Your passive reaction / smacks of a pyrrhic attack” expertly capture the tiny intensities and anxieties that often manifest in relationships. Yet it’s not all misery; the lines “Last night I tried to tell you why / I became such an ambivalent guy / oh well, okay, alright” cheekily introduce the concept of ambivalence before immediately bringing it to life within the song.

Yet What Else After All plays like flipping the pages of a photo album. Each song captures an experience in sickly-sweet detail that pulls from the past those ghost notes of nostalgia. There are parts heavy and yet beautiful, moments of clarity next to fuzzy yet familiar feelings. Will Grayson has managed to press a dream to a record, and each listen has me dizzy like the moments just after waking up, trying to remember specifics but finding only deep emotions instead. It keeps sucking me back in, and I have no doubt it will do the same to you.

My Top Track: “Because He’s Hiding Something”

You can find more from Will Grayson via his Instagram page, @willgrayson. Then head to Spotify to stream Yet What Else After All, or hit his Bandcamp page to purchase your own copy.

Destroy All Music Presents: Going Home

The DIY music scene is one of the most committed and fostering communities I’ve ever been lucky to be part of, but it’s a community in trouble. The very nature of DIY requires continuous effort from artists, promoters, fans and venues, and this last piece, the DIY space—arguably the most imperative of all—is in danger of disappearing. Issues like unavailability or unaffordability of space and the ever-present threat of shutdown from cranky neighbors or authority figures are taking their toll on the existence of DIY venues.

Without a safe space to create and promote and perform, artists and their art also become threatened. But CT label/distro/collective Destroy All Music is striving to reverse the damage with the release of their new compilation Going Home.

Though still a relatively young project, Destroy All Music have already proven themselves a pivotal part of CT’s DIY music scene. Besides regularly hosting and promoting shows, their very first compilation released earlier this year forwarded all proceeds to the victims of California’s vicious wildfires, so it’s no surprise that they’ve organized a similar campaign to support their own community. And that’s why every penny collected from sales goes directly to supporting important DIY venues in New England.

Going Home is packed with tunes from seminal New England acts, reflecting the massive spectrum of genres and styles this region has to offer. Like Destroy All Music, these acts are all banding together to breathe life into their community, donating their tunes to the record and the cause. Compilations like this not only provide a gateway into the many artists honing their craft in New England, but bring those scattered sects of the DIY community together, reminding us that we are all working towards the same goal despite the distances between us.

Destroy All Music and the many talented bands on Going Home are the very essence of the DIY scene, coming together and leading the way to keep their community alive and thrashing. If you’ve ever been to a basement show or “asked a punk” where to catch your favorite touring act, you know how important this community is. How creative. How resilient.

DIY is where every band starts, where your favorite artist started. So pick up a copy of this comp today, and help make sure there’s always a space for artists to grow, and for fans to support them.

Going Home is available digitally on Destroy All Music’s Bandcamp page. You can also grab physical copies starting December 1st from Destroy All Music's distro or from any of the fine acts on the compilation.

By Torchlight - The Flames of the Phoenix, Pt. 1

These days it seems difficult for a singer-songwriter to really deliver something surprising. The “acoustic guitar and soulful singing” trope has been all but trampled by Top 40 radio, not to mention a lack of innovation and—too often—honesty.

But this genre is not nearly dead. I’ve already written a few articles lauding some of the pioneers of this sound, and now can proudly add New Jersey’s By Torchlight to that list, whose EP The Flames of the Phoenix, Pt. 1 breathes new life into the embers of this genre.

As far as arrangements go, The Flames of the Phoenix, Pt. 1 takes a simple formula and creates something expansive and magnificent. By Torchlight relies almost entirely on the acoustic guitar for instrumentation, yet their approaches to both composition and tone combine to make it the most expansive acoustic guitar I’ve ever heard. “The Watcher and the Damned” intermingles crushing chords and sweet melodies, while “The Edge of Forever” layers multiple arpeggiating riffs to create a wavering sonic dreamscape that mirror's the song’s ethereal lyrics. Yet the guitar is not alone on this EP: “The Edge of Forever” stacks a bass onto the arrangement, and by the very end of the record we have a full band marching alongside By Torchlight’s driving chords. 

The Flames of the Phoenix, Pt. 1 is a thematic record, both in lyrics and in composition. The writing layers fantastic imagery on the motif of a journey, bringing the record into the realm of an epic adventure. As the tale grows across the EP, so does the energy; the soft picking of “Child of the Edge” is quickly replaced by furious strumming and rasping yells before the record ends. By Torchlight approaches every aspect of their writing with intelligence and intention, making The Flames of the Phoenix, Pt. 1 a cohesive and riveting listening experience.

By Torchlight takes a small sound and makes it massive, bringing a tale to life with their instrument like a traveling bard. But The Flames of the Phoenix, Pt. 1 does more than just tell that tale—it plays it out for us, using language and instrumentation to sculpt vivid scenes for the audience. It’s an honest and refreshing take on the tag of “singer-songwriter,” and I for one am excited to see where By Torchlight will lead us next.

My Top Track: “Raise the Dead”

Both The Flames of the Phoenix, Pt. 1 and By Torchlight’s latest single “Homecoming” are streaming on Bandcamp and Spotify.

PARCH - Hell in These Eyes

Tired of all the cute fall posts littering your feed? Need something heavy and haunting to get you in the mood for Halloween? Well look no further than the new release by PARCH. New Jersey’s noise boys are back at it with another grinding EP entitled Hell in These Eyes, and it roars louder than a chainsaw in a slasher film.

Recorded in a live setting, Hell in These Eyes manages to stamp the chaotic essence of PARCH onto tape. Between my headphones is a band raging in a room, the cymbals denting as the drumsticks smash into them, the squeal of feedback through distortion pedals and blaring speakers. The vocals are throaty and furious and near impossible to pin down. Yet this is the charm of PARCH—tight performances that sound as unruly as a barfight—a charm Hell in These Eyes captures in all its frenetic glory.

The four songs that make up this EP are aggressively raw in all the right ways. “Foretold” ends so abruptly it sounds like an abandoned take. “Sunnydale” rides growling power chords and a headbanging beat, while “Alligator” dredges the waters with blast beats and mud-drenched bass. The lyrics on this record are so sarcastically nihilistic; “Clear” screams itself into existence with the line “Wake up every day with a gun to my head,” while the tape ends with devolving howls of “This town is a hole” over a collapsing band. The sonics of Hell in These Eyes are pure sludge, vicious wet death coughs of vitriol and reckless abandon.

Though less than ten minutes in length, Hell in These Eyes keeps me riled for hours. The music of PARCH hits like a shot of adrenaline, and leaves me jonesing for another fix as soon as the last song ends. Hell in These Eyes raises hell in the ears, so maybe hell ain’t such a bad place to be.

My Top Track: "Clear"

Hell in These Eyes is out on Wet Cassettes; you can also grab a copy off their Bandcamp page.

Jakals - Bat Brains

Anxiety appears to be the plague of the youth. It haunts the mind, a volatile little voice that trips us and tricks us into a constant loop of second-guessing every decision we make. There is nothing like feeling uncomfortable in your own existence, unsure that you are even worthy of existing—and yet this feeling is near-universal in today’s youth. It’s an experience that so many musicians are attempting to broach, but with their new EP Bat Brains, Boston rockers Jakals have captured that feeling of lonely terror and are showing us how to overcome it.

From the opening rush of “Porcelain” to the final fading notes of “It’s All the Same,” it’s obvious that Jakals is a band intimately familiar with disconnection. Every song sounds like it was written in a confessional—the lyrics are painfully honest, the baring of a soul that has known the depths of sadness and adversity. Lines like “I don’t belong anywhere / I’m always a stranger” and “When I was young I saw that I wasn’t enough” impart an intimacy that is almost unnerving with how much it reveals.

There is without doubt much pain and introspection woven into Bat Brains, yet the instrumentation on the EP buoys that emotion with intense energy. The vocals are powerful, taking fearless runs and delivering the timid lyrics with vicious sustain and vitality. The guitars brand the chord progressions with searing melodies and bright tones, mixing gritty fuzzes against colorful cleans. The bass thumps in the low end like an angry neighbor hitting their ceiling with a broomstick, while the drums slice out powerful grooves and fast fills.

Jakals really lay into their performances throughout this EP, giving Bat Brains a volatile sound that belies their tightly controlled and intelligent arrangements. The band drives their compositions outside of the typical 4/4 beat; the chorus of “Trauma Hoarding” rocks in 11/8, while the verse riff in “It’s All the Same” saunters in 7/4. Similarly, almost every song uses dynamics to formidable effect, designing slow-building swells of energy and effects into the song structure so that each tune bursts with a body-shaking bang. These off-kilter rhythms and tension-building moments add an intellectual kick to the songs, giving my mind much more to chew on than just a good beat and fun melody.

Jakals have captured in their EP an experience that is all-too-common to today’s youth, then stamped it with their own hard-rocking signature sound. This record simultaneously sucks me in and pushes me away, giving rise to a strange medley of emotions that I don’t quite yet have the words to describe. Bat Brains is a collection of kickass tunes that tap into the visceral essence of anxiety and loneliness—six anthems for the anxious to remind us we aren’t alone, nor are we helpless. And if ever you’ve been unsure of your worth in this world, then this record is just what you need to hear right now.

My Top Track: “The Sound of Something Else”

Jakals is currently on tour in support of Bat Brains; you can find upcoming dates and other news via their Facebook page. Then head to Spotify or Bandcamp to stream or purchase your own copy of Bat Brains.

Song Spotlight: Will Grayson's "I was Born with a Caulfield"

Artwork by Andrea Hellwig

“Be bold.”

Perhaps the most important advice ever given to me concerning art. It takes more than a little nerve to create something, even more to make something honest and true. Hard advice, but invaluable.

So much music today is born from swamps of compromise, but CT’s singer-songwriter Will Grayson has never shied away from bold decisions; rather, sprawling compositions, multifaceted arrangements, and sonic exploration are well-honed weapons in his arsenal. And lucky for us, he’s just returned with a new single, “I Was Born with a Caulfield,” one of his most ambitious and powerful takes yet.

Opening with plucky guitar chords, Will Grayson spits some quickfire spoken-word before bursting into lilting vocals as the instrumentation takes off beneath. Multiple guitars converge beneath his singing, mixing twangy clean tones with a vibrant acoustic and a wild fuzz. “I Was Born with a Caulfield” takes sharp turns between elements, the rhythm section slipping in and out to let the vocal shine and the guitars drive. A swell of reverb begins to overtake the tune as it dives into a coda bursting with handclaps, driving bass, and dolorous melodics.

“I Was Born with a Caulfield” is rich with texture and color, and beneath this vibrant landscape of fuzzy guitars and energetic grooves lies a dynamic and lively composition. The vocals lead the tune along a winding path that never circles back; rather, the song continually evolves as it goes, beginning with a soft, jubilant progression and culminating in a full-band explosion. Yet despite the lack of a chorus or verse structure, Will Grayson’s melodies and harmonic chord progressions keep me locked in as I journey with him to the final fading piano notes.

The gentle yet undeniable surge of energy that grows across the length of “I Was Born with a Caulfield” is reflected in the song’s lyrics. The opening poetics are calm, delivered in an almost sarcastic voice, until Will Grayson slips into singing with the line “A silence rallies around the room.” Yet that silence splits immediately, blooming into splashes of guitar work led by the statement “You already know what comes next.” The final suite of the single launches like a bullet with the line “The first to the door is the first to get shot,” pushing the tune’s headbanging groove to completion in a gentle collapse. Grayson’s lyrics lead this odyssey along, his writing as fearless as the composition evolving beneath his words.

“I Was Born with a Caulfield” is a beautiful balance of intelligent writing and unabashedly fun instrumentation. As a precursor to Will Grayson’s upcoming album Yet What Else After All, its fun melodies and expansive arrangements stand as good omens for this new release. Will Grayson is an artist who understands the importance of being bold in his music, a fact that sets him apart from other singer/songwriters. If “I Was Born with a Caulfield” is any indication, Yet What Else After All may be his boldest release yet, and I for one cannot wait for it.

You can find more from Will Grayson, including live shows and updates, by following him on Instagram: @willgraysonmusician. Then head over to his Bandcamp and/or Spotify and stream the new single "I was Born with a Caulfield" off his upcoming full-length, Yet What Else After All, releasing September 21st.

Glenn VeryClose - Episode 0

If you’ve had even half a conversation with me about Connecticut’s music scene, then undoubtedly you’ve heard me mention indie-rock power trio The 30th of February. They’re prolific songwriters and incredible performers, and I reviewed their latest EP Silence a few months ago, which recently saw a CD release featuring an exclusive bonus track. And as if that wasn’t enough to get me salivating, their frontman Ant just released an EP entitled Episode 0, a collection of stripped-down, dolorous tunes published under the moniker Glenn VeryClose, and I find myself completely lost in this record’s winding chords and lilting melodies.

Sonically, Episode 0 is relatively sparse, with each song stripped almost to the bones. Acoustic guitar and a plucky ukulele provide the foundation over which Ant’s haunting vocals float like fog on early morning streets. Yet he accomplishes so much with this little arsenal: “Walking Past a Burning Building” alternates between gentle melody and roaring, chorus-drenched chords, while “PDF” layers both string instruments to create cascading waves of sound. Glenn VeryClose uses simplicity to maximum effect on this EP, letting the energy and emotion of his chord progressions steep into strong elixirs of song.

The melancholy strings set the tonal foundation of Episode 0, and it’s upon this that Glenn VeryClose builds the tales and trials of each tune. The vocals on this EP are insanely mournful, each word carrying the weight of a thousand disappointments. Lines like “Hate yourself for me” from “Hate” or “Lost / in a space I created all myself” in “Vulnerable” shape atmospheres of intense emotion that are blatant, unencumbered by veil or metaphor. Each line is terribly powerful, and yet in these same songs, the speaker lacks agency to act upon that power, instead asking for permission with the questions “Can I hate you?” and “Am I allowed to stay?”

It is this lyrical approach, one of complete abandon, that makes this EP resonate so strongly with me. Glenn VeryClose embeds the very essence of depression, a simultaneous hopelessness against change and stasis, in every single line. It’s a viciously honest portrayal of how it feels to be alone, even if it’s just in your head. And yet Glenn VeryClose does not simply wallow in this darkness—by writing these songs, committing them to hand and heart and record, he thus begins a journey towards acceptance, and hopefully, healing.

No matter how many times I spin this EP, Episode 0 still hits me in the heart like the loss of a loved one. This record offers an intimate, stripped-down look into the world of an insanely prolific songwriter, and each of the four tracks spells out in heartbreaking detail how tough that world can be. With Episode 0, Glenn VeryClose bares all that there is to bare, trusting us as the listener to understand, to believe, to accept. It’s a vivid listening experience, and as you choose to venture into this odyssey, know you will not return the same as you arrived.

My Top Track(s): “Vulnerable” and “PDF” (I can’t choose!)

You can find more from Glenn VeryClose, including upcoming shows and news, on Facebook. Then head over to his Bandcamp page and grab your own copy of Episode 0.

Unpleasant Peasants - Pre-Apocalyptic EP

For too long of a time, in my mind, “heavy” music meant low-tuned guitars, crashing breakdowns, and walls of distortion. Drop-A chugs, blast beats, and vicious screams felt not just like hallmarks of heavy music, but requirements. Never on earth would a 22-year-old me have called a mandolin “aggressive” or thought an acoustic guitar could thump notes that hit me like they were pouring out of a Marshall stack. Yet in exploring folk-punk in recent years, I’ve learned a thing or two about how powerful this sound can be, and after listening to Unpleasant Peasant’s Pre-Apocalyptic EP, I am reminded at just how much weight can come from performance and songwriting.

The instrumentation of Pre-Apocalyptic EP is relatively sparse, built only on mandolin, bass, and a washboard. Yet Unpleasant Peasants use their musical weapons to amazing effect, creating a vibrant and vicious sound at speeds I would balk to attempt. The band rakes at their instruments as if trying to scrub blood from their surfaces, rocking progressions that are fast, bombastic, and insanely danceable. Above it all, their collective gang vocals ring powerful and true, a chaotic chorus of disgruntled voices working together as one and building into unstoppable frenzies of energy.

Unpleasant Peasants are just as virulent and hard-hitting with their lyrics. Much of the writing on their Pre-Apocalyptic EP delivers scathing yet eloquent critiques of today’s society. “It’s Just Business” tackles the repetitive, oft-fruitless struggles of trying to survive in the consumer culture that dominates every aspect of life. “Civilization” sharpens this criticism to a point that Unpleasant Peasants use to prod the sleeping awake: “The world is not in your TV / The world is not in your phone / The world’s not inside your head / It’s outside of your home.” Yet perhaps the best and most searing commentary comes from the opening track “The Farmer,” whose protagonist is hell-bent on destroying anything and everything—be it plant, animal, or human—that stands in the way of his profits. Unpleasant Peasants pair intelligent writing with aggressive performances so that each word hits the listener like a K.O. punch.

Unpleasant Peasants are another testament to the true power of folk-punk, proving with their music that substance in songwriting and power in performance can make for some of the heaviest music around. Every song on this EP is rife with powerful screams and heady riffs; that breakdown and coda of “Pre-Apocalyptic” get me just as riled and ready to move as any hardcore band could. This band’s Pre-Apocalyptic EP certainly carries the weight of the world’s end, yet if this record is any indicator, the future will be looking quite bright for these Peasants.

My Top Track: It’s Just Business

You can find more from Unpleasant Peasants, including news and upcoming shows, on Facebook. Then head over to their Bandcamp page to grab your own copy of their Pre-Apocalyptic EP.

Down with Rent - Entitled Millennial Scum

For the disaffected and marginalized sections of our community, the meeting place is not the town hall, but the dive bars and DIY spaces where hardcore and punk shows are happening so regularly. Punk music gives us a collective outlet for our frustrations, as well as a forum for confronting and changing the asinine aspects of our society. In CT, no band is making better use of this platform than Down With Rent, and with their new full-length Entitled Millennial Scum, they’re breaking out the artillery.

Down With Rent is renowned in the local scene for their explosive live shows, and Entitled Millennial Scum perfectly presses that energy and experience to record. The performances are volatile, almost too powerful for the speakers playing them. The drums thunder out beats so fast, I’m out of breath just listening. The guitar rages along aggressive chord progressions, resonant palm mutes, and searing feedback. The bass guitar’s tone alone feels like a kick in the stomach, riding atop thumping lines and growling low notes that boom within my chest cavity. The vocals thrash with throaty screams and fierce shouts, each absolutely vicious word hitting as hard as the guitar or drums.

The sound of Entitled Millennial Scum is pure and unadultered vitriol, but the lyrics are what give it a focused target. Down With Rent is fearless in calling out the hypocrisies that abound in our society. Lines like “Make no mistake / they won’t hesitate / to take everything / and leave you on the pavement to die” call out the indiscriminate greed and selfishness of the powers that be, a heady reminder that anyone playing the game will happily step on you to win it. In a similar vein, “Entitled to Everything” both pokes fun at generational disconnect with the line “Don’t ask me if you owe us a living / We want this planet and everything in it” before pointing out that action is what earns respect, not age. Entitled Millennial Scum is relentless in both energy and substance, a record seething with honest, no-holds-barred critique of the many cracks in the façade of our country.

One of my favorite aspects of Entitled Millennial Scum is how cohesively it flows. Each song rolls right into the next with nary a second wasted, swells of feedback tying the tunes together and driving the momentum of the record forward. Samples of news reports and police confrontations stitched into a couple tracks help reinforce the political tone of the album throughout. Entitled Millennial Scum is truly a record without a single boring moment—front-to-back, it plays with an integrity and energy that keeps my head and heart locked in.

No matter where you stand, Down With Rent’s new record packs serious punch. Every single song is loaded with kickass riffs, heady screams, and the unbridled energy that is this band’s trademark. Entitled Millennial Scum is a feverish punk powerhouse, the sound of a riot breaking out in the streets punctuated by brutal breakdowns and breakneck drumbeats, giving a furious voice to the fears and unrest so many of us live under every day. So put this record on repeat, and crank it up and up until it makes you deaf—you’re entitled to it.

My Top Track: “Can’t Swim”

You can find more from Down With Rent, including upcoming shows and news, on their Facebook page and on Instagram. Then head over to their Bandcamp and grab your own copy of Entitled Millennial Scum.

Reconstitute - S/T

Since its inception, punk rock has had a political backbone. It has been a virulent voice against injustice, calling out the hatred and bigotry that the rest of our society tries to keep out of sight. In today’s world of regular school shootings, blatant institutional racism, and public displays of intolerance and hatred, this voice is as important as ever, and I’m glad to say, as loud as ever. Just take the self-titled EP by Reconstitute, a collection of heavy-hitting tunes from a band that refuse to stand silently by and watch the world burn.

The instrumentation on Reconstitute is riotous and utterly unforgiving in its energy. The overdriven guitars roar, low chords rumbling next to screeching highs. The drummer pounds his kit into oblivion, each cymbal crash hitting like a brick crashing through a pristine window. The bass guitar is an earthquake, blasting fuzzy lows and searing melodic lines into the ears. Above the chaos are the vicious shouted vocals, each scream a rallying cry that concentrates every element into a sonic punch of punk.

The thrashing strings and thumping drums on Reconstitute could almost generate their own electricity with how much vigor lies behind them, yet it is the lyrics that shape this energy into a tool of change. Reconstitute wields their words against those unjust and insane systems erected to oppress, spearheaded by the madman sitting in the Oval Office. Both “Dear America” and “Treaty” aim themselves directly at Trump’s inherent hypocrisy with lines like “This man doesn’t have your interests in mind / Just his bottom line,” while “Repeal and Replace” virulently addresses the destructive policies he is spearheading such as the infinitely-rising prices of healthcare. Reconstitute pulls no punches with their self-titled debut, instead sharpening their lyrics in poignant razors to hack at the injustices facing the American people.

Though it barely breaks six minutes, Reconstitute is an absolutely relentless, fearless release. From the opening feedback of “Dear America” to the hammering coda hits of “Digging for Coal,” each second of this record is rife with punk passion and hardcore intensity. Reconstitute takes the corruption of our country to task with their self-titled release, a blatant statement that bigotry and injustice will never be tolerated no matter where or when they rear their ugly mugs.

My Top Track: "Dear America"

Reconstitute is a project of the prolific and talented N.E. Hertzberg; follow him on Facebook for updates including news and upcoming shows. Then head over to Spotify to listen to Reconstitute or even grab a limited-run tape (courtesy of Crass Lips Records) from their Bandcamp page.

Dead Characters - Ashen

In a world dominated by vocal-centric music, it must be difficult to be an instrumental artist. Vocals create an easy and immediate touchstone for audiences, a doorway of human presence that they can step through. It is infinitely harder to connect with the general population via instrumentation, to touch their minds and hearts in the same way and with the same depth. A daunting task, but not an impossible one, as Colorado’s Dead Characters prove with their debut EP Ashen.

The sound of Ashen is much like the album cover: dark, crashing, and in constant motion. The drums pile hit upon hit upon hit, practically beating the toms to a pulp with powerful fills and warlike grooves. The bass guitar drones like an oncoming thunderstorm, thumping against the bass drum beats with a tone so growling and gritty it shakes my speakers. Above it all rides the guitar, deftly switching between tremolo-picked solos and chugging chords. The band lets the riffs and running basslines lead their sound—all the emotion is embedded in the instruments, and the melodies portray the meanings without the encumbrance of vocals or lyrics.

While their performances are superb, the real strength of Dead Characters’ music lies in their composition. The band employs vicious up-and-down dynamics in their songs, digging quiet and spacious valleys between mountains of distortion and ringing cymbals. Tracks like “With and Without” and “Landing” slip between big booming riffs and gentle melodic moments, letting the song steer from beauty to brutality. Similarly, vastly different guitar tones are employed against each other to create tension, placing washes of echo and reverb against grinding fuzz in “Palo Duro,” or even simultaneously imposing a twangy clean onto massive distortion in “There Were Flashes.” Each of the five songs on Ashen uses dynamics in volume and in tone to create vivid worlds for us to explore. 

It’s no small feat to connect with listeners through music; to do so without the tried-and-true tool of singing is an even larger feat, yet Dead Characters seem to be masters at it. Each of the songs on Ashen tells its own story in the language of thrashing strings and crashing drums, throwing the encumbrance of vocals to the side and letting their riffs do the talking. And believe me, those riffs have something to say, so you better listen up.

My Top Track: “Harriet”

You can find more from Dead Characters, including upcoming shows and news, on Facebook. Then head over to their Bandcamp page and pick up your own copy of Ashen.

Intercourse - Everything is Pornography When You've Got an Imagination

Connecticut is a state oozing with heavy bands, yet few can truly bring the noise like Intercourse. Their approach to music is fearless and furious; seeing them live is like standing in the way of a careening freight train. They make music for the outsiders, broken loners and writhing weirdos, drawing on the darkness of the corners ignored by the masses. Intercourse embraces this darkness, and with their latest release Everything is Pornography When You’ve Got an Imagination, they lob it back at the general population like a hand grenade. 

Compositionally, Everything is Pornography is like a Jackson Pollock painting, simultaneously a technical masterpiece and a beautiful mess. The guitars thrash through quick, abrasive chord progressions and heady palm mutes, punctuated by vicious feedback and screaming dissonant notes. The bass rages through distortion and bizarre effects. Hectic blast beats and shattering cymbals drive the band into brutal breakdowns that punch like fists at the ear drums. Above this maelstrom ride the vocals of a rambling madman, screamed at fever pitch and full volume. 

The beauty of Intercourse’s music is that is simultaneously intentional and improvised—four talented and passionate musicians who have no qualms about fucking shit up. Everything is Pornography is loaded with tempo and time signature changes: “Piles” repeatedly cycles through 4/4/, 6/4, and 7/4 so rapidly that it’s almost impossible to predict, while “Beyond Human” presses thrashing fast sections against a vehement, soulless breakdown that slows with each repetition. But against these clear and deliberate technical decisions, Intercourse smashes waves of feedback and noise throughout, creating an audio hellscape of distortion and dissonance.

These players might be pros at their instruments, but noise is their specialty; chaos is in their blood, and this is nowhere more apparent than in the vocals. Each vocal piece feels almost separate from the instrumentation, like a drunken stranger stumbled into the recording studio and began screaming about being abducted by aliens. Head-spinning yells and vitriolic rants roil like a hurricane above the stormy seas of the instruments, forcing a framework of human suffering and absurdity over the layers of feedback. If the earsplitting guitars are there to disorient you, it’s the roaring vocals that kick you in the gut and steal your wallet. 

This intrinsic uproar is just as apparent in the lyrics, which spin tales of absolute pandemonium. “Cuckold the Family Ghost” describes a botched suicide resulting in a hellish haunting, while “Cum Kind of Monster” blurs the line between macho hero worship and masturbatory addiction. The undertone to almost every song is one of bizarre and irreverent humor, yet it is not all-consuming: lines like “Look me in the eyes, vote against my life. They want to build a wall? There's already a fucking wall” from “The Kids are Alt-Right” wield this bombastic anger against relevant social issues such as racism and toxic masculinity. 

Intercourse’s noisy brand of hardcore on Everything is Pornography When You’ve Got an Imagination hits like a stampede of blackout-drunk elephants. If they throw parties in hell, this is the record they put on the jukebox. Its noisy riffs, thundering beats, and spine-chilling shouts create a raucous mix that is both frightening and frighteningly good. Intercourse redefines the word “heavy” with Everything is Pornography, and I can’t wait to see where they take it next. 

My Top Track: “Beyond Human” 

You can find more from Intercourse, including news and show updates, on Facebook. Then head over to their Bandcamp page and grab your own copy of Everything is Pornography When You’ve Got an Imagination.

Bridgeroom / Will Grayson - Split #2 EP

One of the best aspects of my local music scene is how supportive and collaborative it can be. I regularly see artists working together to stay afloat in this oft-unforgiving pursuit of making music. Whether by cross-promoting shows or guest-spotting on recordings, CT’s musicians constantly reaffirm that none of us are in this alone, even in the most trying of times. One shining example of this community spirit is the latest split between Bridgeroom and Will Grayson, two acts bolstering each other’s songs and sadness on one release.

Bridgeroom’s songwriting on this split captures the feeling of disconnection that depression and anxiety can create, how when even in a crowded room and surrounded by friends, we can feel so alone.  “Break You Down” juxtaposes quick fuzzy guitar melodies and a fun full band arrangement against some of the loneliest vocals I’ve ever heard, while “You Won’t” rings like a howl in the middle of the night. Still, all is not lost—the uplifting melodies of “A Taunt Well Done,” while not quite resolving the sadness, at least let us come to terms with the feeling, creating a catharsis for the first side of the record.

Will Grayson’s tunes similarly places vibrant instrumentation against morose musing. “Every Week Has Its Day” plays with danceable drum rhythms and a bright synth, while “Failed States” features a wandering vocal melody over three guitars that flit between the speakers. The final track “Once A Week Won’t Kill You” blooms like a flower, spacing out powerful vocals with an ever-expanding instrumental bridge.

Like his instrumentation, Bridgeroom’s vocals are pained by old memories, somehow simultaneously longing for the past while wishing it had never come to pass. Every word is laden with enough weight and emotion to almost leave bruises. Lines like “It’s all already been said / But I’ll continue going / over it again” in “You Won’t” or “I dug up these old letters / from a box on my shelf / I’ll never throw them out / ‘cause I tell myself they help” suggest a pain almost too comforting in its familiarity. There is no veil between the emotion and intention in Bridgeroom’s lyrics—every line is a fresh wound displayed for all to see.

Where Bridgeroom relies on frank reality in imagery, Will Grayson shapes vivid metaphors to communicate emotion. “Every Week Has Its Day” plays with sequences of time in both its title and in the lines “We’re warring all spring / summer falls dead in the heat / we take off winter to sleep / and then the seasons repeat.” Similarly, “Failed States” applies a political framework to a romantic relationship, where communication suddenly becomes a negotiation. Will Grayson employs frameworks of imagery to enclose the emotion of the song, giving each piece a context outside of itself from which it can draw meaning.

Both Bridgeroom and Will Grayson bring their best to their sides of this split, but even more interesting is how their sides work together to create a comprehensive listening experience. Both artists sequence their songs in a mirrored manner; Track 1 flaunts upbeat tempos and powerful instrumentation, while Track 2 drops down into a gentle sway of sadness. Both artists focus their final pieces on dynamics—“A Taunt Well Done” wavers between quiet strumming and full-band swells, while “Once A Week Won’t Kill You” slowly builds an epic odyssey of instruments across its 7-minute existence. This similar structuring helps to create a cohesive adventure of the split, providing two unique perspectives on the same progression of sound.

The songs collected by both Bridgeroom and Will Grayson on this EP fit together like puzzle pieces. Each artist brings a distinct sound and style to the table, yet their collaborative approaches reflect the growing communal spirit of CT’s music scene. Splits like this are just one of the many ways musicians can come together and support each other in their artistic endeavors, and remind me just how high we can reach we can be when we give one another a boost.

My Top Tracks: “A Taunt Well Done” and “Failed States”

You can find more from these artists, including live shows and updates, by following Bridgeroom on Facebook and Will Grayson on Instagram. Then head over to these acts’ Bandcamp pages and pick up your own copy of their second split (as well as the first one!).

Bridgeroom Facebook: https://www.facebook.com/Bridgeroom-1966562993619055/

Bridgeroom Bandcamp: https://bridgeroom.bandcamp.com/

Will Grayson Bandcamp: https://willgrayson.bandcamp.com/

Will Grayson Instagram: @willgraysonmusician

Shameless Self Promotion: New full-length "Drops of Dew & Mourning" releases tomorrow!

Well friends, after 2+ years of sequester, self-doubt, and a vicious cycle of creation-destruction-reassembly, I am proud to say that tomorrow, March 30, I will be releasing my first-ever full-length album, Drops of Dew & Mourning. And if I'm being honest, I'm both terrified and excited. 

The road of creating this record, of getting it out of me and into the world, was both long and arduous. The road of believing that the music I've been making is worth hearing has been far longer, and I'm not yet at the end of that path--I'm not sure I ever will be. 

But between all the cracks I can see in this album, I believe that other wills find both beauty and honesty. It's not perfect, but it is mine. And now I am giving it to the world, to you, in hopes that you find some aspect that speaks to you the way that writing this record did for me.

So come have some of this music with me. I will be performing some of these songs for the first time tomorrow night at Watertown's premier dessert bar, CBBG, along with an esteemed list of incredibly talented artists. There will even be physical CDs you can take home for a couple bucks, as well as piles of free hugs. 

Thanks again for being part of this journey with me. I hope to see you tomorrow night!

Love,

Woody

Release show FB event: https://www.facebook.com/events/1607343876017821/ 

Drops of Dew & Mourning on Bandcamp, out 3/30/18: https://thejudasobscure.bandcamp.com/album/drops-of-dew-mourning 

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.